This is an often-repeated piece of advice for numerous people that sharing custody a canine companion following a split is ill-advised. Most will argue such situations impede former couples from moving forward, lead to scheduling chaos, lead to tension, and become annoying across the board. Apparently, and in a twist fit for a streaming movie, it reportedly leads to the dogs themselves to experience sadness.
Not to downplay the mental health of dogs – countless people speak of their remarkable empathy. To witness a prime example in pet despair, one need only look another performance. It seems certain that a dog of Merv's nature, a wired-hair terrier mix portrayed by Gus the Dog, would find it difficult adjusting to divided living arrangements. Whether this premise an entire Christmas romance on this conflict works effectively seems a questionable prospect.A Familiar Formula
To its credit, Merv, the work of its screenwriters and directed by playwright Jessica Swale, doesn't pretend to be anything more than what it is. It functions as a Christmas movie from a streaming platform giant – the ambitions is limited. The plot proves to be simple and direct: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their own sadness is rivaled only by their dog's, decide on a uplifting getaway to a luxury pet hotel. Once there, as expected, they will undoubtedly stumble toward the idea that they are better together. Side characters – played by familiar faces – serve as eccentric, underutilized, or over-the-top. Visually carries the feel of a branded content, with a wintry atmosphere that is visibly contrived – as seen in fake snow piled on verdant foliage as North Carolina substitutes for a wintery Boston.
Where the Film Shines
How these familiar elements coalesce into something enjoyable hinges on the strength of the performances and an acceptance of comfort viewing. For the comfort factor, Merv hones in on a demographic – the kind who browse regularly for pet content. The film delivers a wealth of canine-centric sequences. The central draw is the canine star, 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, doggie joy.
Where It Wobbles
This level of success does not extend for the romantic plot. The film's approach vacillates between serious study, zany antics, predictable love story, and outright slapstick, not quite landing a single genre. This is not Charlie Cox, who is fully game the absurd and awkward inherent in the unusual premise. He brings a endearing lack of ego that supplies much of the film's charm for this on-the-rocks couple. Anna's portrayer, true to her usual style, injects a certain millennial quirkiness that will be to your taste or not. The character comes across as a touch too detached, especially when paired with Cox's vulnerable performance. (For what it's worth, Gus the Dog succeeds in looking despondent – not quite a canine thespian of that caliber, he's definitely a scene-stealer.)
The film attempts to provide depth to the central romance for moments when the dog is absent – which is unfortunate, since Merv is undoubtedly the best part of this film designed for charm. Unsurprisingly, it achieves only baseline competence. The cause for the split might seem more adult and realistic with less exposition and more subtle storytelling. Ultimately, Merv is light and sugary, hitting every expected note. Creating a movie with this canine conflict is not terrible – but it's hardly a brilliant concept.
- Merv premieres on the Amazon platform this December.
