This is an often-repeated piece of advice among many that sharing custody a canine companion after a breakup is a terrible idea. Most will argue such setups hinder individuals from healing, lead to scheduling chaos, fuel disputes, and become annoying for all parties. Seemingly, and in a twist fit for a direct-to-platform film, it can even cause the canine in question to experience sadness.
While respecting the inner life of dogs – countless people attest to their remarkable empathy. If you need prime example in pet despair, simply recall another performance. It seems certain that a dog of Merv's nature, a spirited little dog brought to life by the canine actor Gus, would struggle adapting to life in two homes. The idea of basing a feature-length romcom on this conflict holds water remains rather doubtful.Standard Holiday Fare
Honestly, Merv, written by its screenwriters and directed by director Swale, makes no grand claims more profound than what it is. It functions as a Christmas movie from a major tech-and-media conglomerate – the complexity remains surface-level. The narrative proves to be uncomplicated: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing that their individual funk is matched by their dog's, take a therapeutic trip to a luxury pet hotel. Once there, as expected, they will presumably realize the idea that they belong with each other. Ensemble players – featuring familiar faces – serve as the usual assortment of types. Visually is reminiscent of a platform's in-house production, with a wintry atmosphere that is obviously artificial – exemplified by obvious snow effects clinging to lush pines as North Carolina doubles as a cold December city.
The Dog's Domain
Whether these predictable parts come together into something enjoyable hinges on the execution and the viewer's appetite for easy entertainment. On the latter point, Merv targets a specific viewer – individuals who browse regularly for pet content. The film delivers a series of canine-centric sequences. The primary selling point is the canine star, and though it results in some stilted moments between what the dog does and people's faces, the movie succeeds in showing walking sequences, dog depression, and, in the end, a tail-wagging resolution.
Where It Wobbles
Such effectiveness cannot be applied for the romantic plot. The film's approach wavers between emotional depth, zany antics, standard rom-com beats, and silly gags, failing to master a single genre. The fault lies not with Charlie Cox, who is admirably committed the humiliating and funny demanded of the dog resort scenario. He brings a likable self-deprecation that provides the bulk of the chemistry for this on-the-rocks couple. Anna's portrayer, true to her usual style, imparts a particular brand of eccentricity that will click for some but not others. The character seems a touch too detached, notably when paired with Cox's vulnerable performance. (On another note, Gus the Dog succeeds in acting depressed – he may not be a canine thespian of that caliber, he remains a very good boy.)
The film attempts to add substance to Anna and Russ's relationship for scenes without their pet – a bit of a pity, given that the dog is undoubtedly the most adorable aspect of this feel-good picture. Expectedly, it achieves only baseline competence. The cause for the split might seem more adult and realistic with less exposition and less blunt explanation. In the end, Merv is gentle and pleasant, meeting precisely what you anticipate. Crafting a story about dog co-parenting isn't a bad idea – but I wouldn't call it a stroke of genius.
- Merv becomes available on Prime Video starting December 10.
