It is a widely held belief in certain circles that sharing custody a pet following a split is a terrible idea. Most will argue such situations prevent ex-partners from finding closure, lead to scheduling chaos, fuel disputes, and are a nuisance for everyone involved. Seemingly, in a revelation worthy of a direct-to-platform film, it can even cause the canine in question to become depressed.
Not to downplay the inner life of our pets – countless people attest to their deep emotional capacity. To witness a standout portrayal in canine melancholy, simply recall a past film. It seems certain that a dog of Merv's nature, a wired-hair terrier mix brought to life by Gus the Dog, would struggle adapting to split households. Whether this premise a full holiday film on such a setup holds water is rather doubtful.Predictable Foundations
Honestly, Merv, crafted by Dane Clark and Linsey Stewart and directed by Jessica Swale, doesn't pretend to be more profound than a light film. It functions as a Christmas movie from a streaming platform giant – the depth remains surface-level. The plot is destined to be uncomplicated: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing that their individual funk is matched by their dog's, decide on a cheer-up vacation to a dog-friendly resort. Once there, as expected, they will surely stumble toward the idea that they belong with each other. Ensemble players – played by Chris Redd, Jasmine Mathews, and others – serve as quirky, thinly written, or broadly comic. The film's look has the quality of a platform's in-house production, with a Christmas setting that is obviously artificial – as seen in flurries clinging to green trees as a warm climate substitutes for a wintery Boston.
Where the Film Shines
If these standard ingredients come together into a pleasant experience hinges on the execution and an acceptance of cinematic comfort food. On the latter point, Merv hones in on a demographic – those people who scroll endlessly for dog videos. Audiences receive a plethora of canine-centric sequences. The primary selling point is the dog, and though it results in some stilted moments between what the dog does and people's faces, the movie succeeds in showing canine party antics, dog depression, and, finally, a tail-wagging resolution.
Where It Wobbles
The same praise is not earned for the interpersonal drama. The tone shifts uneasily between emotional depth, zany antics, formulaic romance, and silly gags, not quite landing a single genre. The fault lies not with Charlie Cox, who is willing to embrace the absurd and awkward demanded of the bizarre setting. Cox exhibits a likable self-deprecation that offers much of the film's charm for this on-the-rocks couple. Anna's portrayer, in her typical fashion, injects a particular brand of eccentricity that will be to your taste or not. Her Anna seems a bit too dry, especially when contrasted against Cox's vulnerable performance. (It should be noted, Gus the Dog succeeds in looking despondent – while no Messi from that acclaimed drama, he's definitely a scene-stealer.)
Merv tries to give weight to the couple's history for sequences focusing solely on them – a regrettable choice, given that the dog is by far the cutest element of this film designed for charm. As one might predict, it achieves only baseline competence. The cause for their separation would feel more adult and realistic with more screen time and less blunt explanation. Ultimately, Merv is gentle and pleasant, fulfilling precisely what you anticipate. Crafting a story about dog co-parenting is not terrible – though I wouldn't call it a great one either.
- Merv streams on Prime Video starting December 10.
