It is a widely held belief in certain circles that sharing custody a dog following a split is a recipe for trouble. Most will argue such arrangements hinder individuals from healing, cause practical headaches, spark arguments, and are a nuisance for all parties. Apparently, and in a twist fit for a direct-to-platform film, it also makes the canine in question to become depressed.
While respecting the inner life of dogs – countless people speak of their deep emotional capacity. For a standout portrayal in canine melancholy, consider another performance. I firmly believe that a dog like Merv, a spirited little dog portrayed by the canine actor Gus, would find it difficult coping with life in two homes. The idea of basing an entire Christmas romance on this conflict is sustainable remains a questionable prospect.Predictable Foundations
Fairness demands noting, Merv, the work of Dane Clark and Linsey Stewart and directed by Jessica Swale, never aspires to be anything more than a light film. It functions as a seasonal offering from a corporate studio – the complexity are modest. Its storyline unfolds as uncomplicated: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, confronting that their own sadness is surpassed by their dog's, take a uplifting getaway to a luxury pet hotel. Once there, as expected, they will presumably stumble toward the idea that they belong with each other. Ensemble players – including a group of comedic actors – are crafted as eccentric, underutilized, or over-the-top. Its aesthetic is reminiscent of a branded content, with a Christmas setting that is visibly contrived – as seen in obvious snow effects surrounding green trees as a warm climate stands in for a wintery Boston.
Where the Film Shines
Whether these standard ingredients merge into an entertaining watch depends on the strength of the performances and an acceptance of cinematic comfort food. Regarding the second aspect, Merv targets a specific viewer – those people who seek out for dog videos. Audiences receive a series of canine-centric sequences. The primary selling point is the dog, and though it results in some stilted moments between animal action and human reaction, the movie does offer dog beach fun, canine sorrow, and, ultimately, a tail-wagging resolution.
The Human Element
Such effectiveness does not extend for the interpersonal drama. Its style wavers between serious study, broad humor, standard rom-com beats, and silly gags, failing to master any one mode. The fault lies not with Charlie Cox, who is fully game the silliness and cringe required by the bizarre setting. His performance contains a likable self-deprecation that provides the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, as is her trademark, brings a particular brand of eccentricity that will be to your taste or not. The character seems a little too aloof, notably when paired with Cox's genuine sadness. (It should be noted, Merv himself succeeds in acting depressed – he may not be Messi from that acclaimed drama, he remains an excellent dog.)
The film attempts to add substance to the couple's history for sequences focusing solely on them – which is unfortunate, since the dog is undoubtedly the most adorable aspect of this film designed for charm. Expectedly, it meets the bare minimum. The cause for their separation could have been more grounded and mature with less exposition and more subtle storytelling. As it stands, Merv is light and sugary, meeting all its marks. Making a film about dog co-parenting is not terrible – but it's hardly a stroke of genius.
- Merv streams on the Amazon platform starting December 10.
