It is a widely held belief among many that sharing custody a canine companion post-separation is a recipe for trouble. Most will argue such arrangements impede ex-partners from healing, cause practical headaches, lead to tension, and are a nuisance for all parties. Apparently, as a development fit for a direct-to-platform film, it can even cause the dogs themselves to experience sadness.
While respecting the emotional well-being of dogs – many owners attest to their deep emotional capacity. To witness a standout portrayal in canine melancholy, consider recent cinema. I firmly believe that a dog such as Merv, a scruffy terrier type played by a talented dog named Gus, would struggle adjusting to divided living arrangements. The idea of basing a feature-length romcom on such a setup holds water seems a questionable prospect.Standard Holiday Fare
Honestly, Merv, the work of its screenwriters and under the guidance of Jessica Swale, never aspires to be deeper than a light film. It functions as a seasonal offering from a corporate studio – the depth remains surface-level. The narrative is destined to be simple and direct: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their individual funk is rivaled only by their dog's, embark on a cheer-up vacation to a canine-centric retreat. Once there, as expected, they will surely stumble toward the idea that they belong with each other. Ensemble players – including a group of comedic actors – are crafted as quirky, thinly written, or broadly comic. The film's look carries the feel of a streaming service original, with a Christmas setting that is clearly manufactured – exemplified by obvious snow effects surrounding lush pines as a warm climate stands in for a wintery Boston.
Where the Film Shines
If these predictable parts coalesce into something enjoyable rests upon the actors' work and an acceptance of cinematic comfort food. For the comfort factor, Merv targets a specific viewer – individuals who browse regularly for cute animal clips. It provides a plethora of canine-centric sequences. The main attraction is the canine star, and though it results in some clunky cuts between what the dog does and human reaction, the movie delivers on canine party antics, canine sorrow, and, in the end, pure puppy happiness.
Where It Wobbles
This level of success cannot be applied for the interpersonal drama. Its style wavers between relationship drama, broad humor, formulaic romance, and physical comedy, never fully committing to a single genre. This is not the actor playing Russ, who is willing to embrace the humiliating and funny demanded of the bizarre setting. Cox exhibits a charming humility that provides a significant portion of the appeal for this ostensibly perfect couple. Her co-star Deschanel, in her typical fashion, brings a distinctive offbeat energy that will either resonate with viewers. The character comes across as a bit too dry, particularly when contrasted against Cox's genuine sadness. (For what it's worth, Gus the Dog is convincing at flopping and whining – not quite the award-winner from Anatomy of a Fall, he is still a very good boy.)
Merv tries to add substance to Anna and Russ's relationship for scenes without their pet – a bit of a pity, since the title character is easily the most adorable aspect of this film designed for charm. As one might predict, it achieves only baseline competence. The catalyst for the split could have been more grounded and mature with greater exploration and fewer direct statements. In the end, Merv is slight and sweet, meeting all its marks. Creating a movie with this canine conflict is not terrible – even if I wouldn't call it a great one either.
- Merv premieres on Amazon Prime Video this December.
