This is an often-repeated piece of advice for numerous people that sharing custody a canine companion post-separation is ill-advised. The consensus suggests such situations impede ex-partners from healing, lead to scheduling chaos, fuel disputes, and prove frustrating for all parties. Seemingly, as a development fit for a streaming movie, it can even cause the dogs themselves to feel down.
Not to downplay the mental health of dogs – pet parents observe their profound sensitivity. For a prime example in pet despair, consider a past film. I firmly believe that a dog such as Merv, a wired-hair terrier mix played by a talented dog named Gus, would have a hard time adapting to split households. If this concept a full holiday film around this situation is sustainable is a questionable prospect.Predictable Foundations
Fairness demands noting, Merv, written by Dane Clark and Linsey Stewart and directed by Jessica Swale, makes no grand claims anything more than a light film. We have here a holiday release from a major tech-and-media conglomerate – the complexity is limited. Its storyline is destined to be simple and direct: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, confronting that their individual funk is surpassed by their dog's, decide on a therapeutic trip to a dog-friendly resort. Once there, as expected, they will surely realize the idea that they are better together. Side characters – played by Chris Redd, Jasmine Mathews, and others – serve as quirky, thinly written, or broadly comic. Its aesthetic is reminiscent of a streaming service original, with a wintry atmosphere that is clearly manufactured – as seen in fake snow piled on lush pines as a warm climate stands in for the Northeast.
The Dog's Domain
If these predictable parts merge into something enjoyable rests upon the execution and the viewer's appetite for easy entertainment. Regarding the second aspect, Merv hones in on a demographic – the kind who browse regularly for cute animal clips. The film delivers a plethora of canine-centric sequences. The main attraction is the canine star, and though it results in some awkward editing between animal action and people's faces, the movie delivers on walking sequences, canine sorrow, and, ultimately, pure puppy happiness.
Where It Wobbles
This level of success does not extend for the human side of the story. The tone vacillates between relationship drama, broad humor, predictable love story, and silly gags, not quite landing a single genre. No blame falls on Cox's performance, who is admirably committed the silliness and cringe inherent in the unusual premise. He brings a likable self-deprecation that supplies the bulk of the chemistry for this on-the-rocks couple. Anna's portrayer, in her typical fashion, brings a certain millennial quirkiness that will either resonate with viewers. The character can feel a bit too dry, especially when alongside Cox's vulnerable performance. (For what it's worth, the canine performer succeeds in looking despondent – he may not be Messi from that acclaimed drama, he remains a very good boy.)
Merv tries to give weight to Anna and Russ's relationship for sequences focusing solely on them – a regrettable choice, considering the dog is easily the best part of this cute-aiming movie. Unsurprisingly, it meets the bare minimum. The cause for their separation might seem more nuanced with greater exploration and fewer direct statements. Ultimately, Merv is slight and sweet, hitting precisely what you anticipate. Creating a movie with this canine conflict is not terrible – but it's hardly a stroke of genius.
- Merv streams on Prime Video this December.
