This is a widely held belief in certain circles that sharing custody a canine companion post-separation is a terrible idea. The consensus suggests such arrangements impede former couples from healing, create logistical nightmares, fuel disputes, and prove frustrating across the board. Seemingly, in a revelation suited to a streaming movie, it can even cause our furry friends to experience sadness.
Without minimizing the inner life of dogs – many owners attest to their deep emotional capacity. If you need prime example in dog sorrow, consider recent cinema. I firmly believe that a dog such as Merv, a wired-hair terrier mix brought to life by Gus the Dog, would find it difficult adjusting to divided living arrangements. Whether this premise an entire Christmas romance around this situation holds water remains a questionable prospect.A Familiar Formula
Honestly, Merv, crafted by Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, makes no grand claims deeper than what it is. We have here a seasonal offering from a major tech-and-media conglomerate – the depth are modest. The narrative is destined to be simple and direct: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their individual funk is matched by their dog's, embark on a uplifting getaway to a dog-friendly resort. At this location, predictably, they will surely rediscover the idea that they should reunite. Ensemble players – played by familiar faces – fulfill roles quirky, thinly written, or broadly comic. Visually carries the feel of a branded content, with a holiday backdrop that is visibly contrived – think fake snow clinging to verdant foliage as North Carolina substitutes for a wintery Boston.
The Dog's Domain
If these familiar elements come together into a pleasant experience depends on the execution and the viewer's appetite for easy entertainment. On the latter point, Merv hones in on a demographic – individuals who browse regularly for pet content. Audiences receive a series of adorable dog montages. The primary selling point is the dog, and while this leads to some clunky cuts between what the dog does and human reaction, the movie succeeds in showing walking sequences, canine sorrow, and, finally, doggie joy.
The Human Element
This level of success cannot be applied for the interpersonal drama. Its style shifts uneasily between serious study, broad humor, formulaic romance, and outright slapstick, never fully committing to a single genre. No blame falls on Charlie Cox, who is admirably committed the humiliating and funny inherent in the unusual premise. His performance contains a endearing lack of ego that supplies much of the film's charm for this on-the-rocks couple. Zooey Deschanel, true to her usual style, brings a particular brand of eccentricity that will be to your taste or not. Her Anna seems a little too aloof, particularly when alongside Cox's genuine sadness. (It should be noted, the canine performer is convincing at flopping and whining – not quite a canine thespian of that caliber, he's definitely a very good boy.)
Merv tries to provide depth to the central romance for moments when the dog is absent – which is unfortunate, given that Merv is easily the cutest element of this film designed for charm. As one might predict, it achieves only baseline competence. The reason for the split could have been more nuanced with more screen time and less blunt explanation. As it stands, Merv is light and sugary, fulfilling every expected note. Making a film about dog co-parenting isn't a bad idea – but it's not exactly a great one either.
- Merv streams on the Amazon platform this December.
