This is a common warning for numerous people that sharing custody a pet after a breakup is a recipe for trouble. Most will argue such setups hinder ex-partners from healing, create logistical nightmares, spark arguments, and prove frustrating for everyone involved. As it turns out, as a development suited to a direct-to-platform film, it also makes the dogs themselves to experience sadness.
Not to downplay the emotional well-being of our pets – pet parents observe their deep emotional capacity. If you need standout portrayal in dog sorrow, one need only look a past film. It seems certain that a dog of Merv's nature, a spirited little dog brought to life by Gus the Dog, would have a hard time adapting to split households. If this concept an entire Christmas romance on such a setup holds water seems a questionable prospect.Predictable Foundations
To its credit, Merv, crafted by the writing duo and under the guidance of Jessica Swale, makes no grand claims deeper than what it is. It functions as a Christmas movie from a corporate studio – the ambitions remains surface-level. Its storyline proves to be uncomplicated: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their post-breakup gloom is rivaled only by their dog's, take a uplifting getaway to a luxury pet hotel. At this location, predictably, they will undoubtedly stumble toward the idea that they should reunite. Ensemble players – featuring familiar faces – are crafted as eccentric, underutilized, or over-the-top. Visually carries the feel of a branded content, with a wintry atmosphere that is clearly manufactured – as seen in fake snow clinging to lush pines as a summer location stands in for a cold December city.
Where the Film Shines
If these predictable parts come together into an entertaining watch hinges on the strength of the performances and the viewer's appetite for cinematic comfort food. On the latter point, Merv targets a specific viewer – individuals who browse regularly for dog videos. It provides a wealth of adorable dog montages. The main attraction is the dog, and even if it causes some clunky cuts between what the dog does and people's faces, the movie succeeds in showing canine party antics, canine sorrow, and, in the end, doggie joy.
Where It Wobbles
This level of success does not extend for the human side of the story. Its style vacillates between emotional depth, wacky comedy, predictable love story, and outright slapstick, never fully committing to a single genre. The fault lies not with Charlie Cox, who is admirably committed the absurd and awkward demanded of the bizarre setting. Cox exhibits a endearing lack of ego that provides much of the film's charm for this ostensibly perfect couple. Her co-star Deschanel, true to her usual style, brings a distinctive offbeat energy that will click for some but not others. Her Anna seems a touch too detached, notably when contrasted against Cox's genuine sadness. (It should be noted, Merv himself succeeds in acting depressed – not quite a canine thespian of that caliber, he is still an excellent dog.)
The story strives to give weight to Anna and Russ's relationship for scenes without their pet – which is unfortunate, considering the dog is undoubtedly the best part of this feel-good picture. As one might predict, it meets the bare minimum. The reason for the split might seem more nuanced with more screen time and less blunt explanation. In the end, Merv is slight and sweet, hitting all its marks. Creating a movie about dog co-parenting is not terrible – but it's hardly a brilliant concept.
- Merv premieres on Prime Video starting December 10.
