This is an often-repeated piece of advice in certain circles that co-parenting a dog post-separation is ill-advised. Most will argue such arrangements impede former couples from finding closure, create logistical nightmares, lead to tension, and prove frustrating for all parties. Seemingly, as a development suited to a direct-to-platform film, it also makes the canine in question to experience sadness.
Without minimizing the mental health of dogs – countless people observe their deep emotional capacity. To witness a standout portrayal in dog sorrow, consider a past film. I firmly believe that a dog of Merv's nature, a wired-hair terrier mix played by a talented dog named Gus, would have a hard time coping with divided living arrangements. The idea of basing a full holiday film on such a setup holds water seems a questionable prospect.Standard Holiday Fare
Honestly, Merv, written by the writing duo and directed by playwright Jessica Swale, never aspires to be deeper than its premise. It functions as a seasonal offering from a streaming platform giant – the complexity is limited. The plot unfolds as simple and direct: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is matched by their dog's, decide on a therapeutic trip to a luxury pet hotel. At this location, predictably, they will surely stumble toward the idea that they are better together. Ensemble players – played by a group of comedic actors – are crafted as the usual assortment of types. Its aesthetic carries the feel of a platform's in-house production, with a Christmas setting that is visibly contrived – as seen in obvious snow effects surrounding lush pines as North Carolina substitutes for a cold December city.
The Dog's Domain
Whether these standard ingredients come together into a pleasant experience rests upon the actors' work and the viewer's appetite for easy entertainment. For the comfort factor, Merv knows its audience – those people who seek out for cute animal clips. Audiences receive a series of canine-centric sequences. The primary selling point is Merv himself, and even if it causes some clunky cuts between what the dog does and the actors' responses, the movie delivers on walking sequences, dog depression, and, in the end, a tail-wagging resolution.
Where It Wobbles
Such effectiveness is not earned for the interpersonal drama. The tone wavers between relationship drama, zany antics, predictable love story, and outright slapstick, never fully committing to any one mode. The fault lies not with the actor playing Russ, who is willing to embrace the absurd and awkward demanded of the dog resort scenario. His performance contains a endearing lack of ego that supplies the bulk of the chemistry for this seemingly ideal couple. Her co-star Deschanel, in her typical fashion, injects a distinctive offbeat energy that will click for some but not others. The character seems a bit too dry, particularly when paired with Cox's genuine sadness. (On another note, the canine performer is convincing at looking despondent – not quite a canine thespian of that caliber, he's definitely an excellent dog.)
The film attempts to add substance to Anna and Russ's relationship for moments when the dog is absent – a bit of a pity, considering the title character is by far the best part of this feel-good picture. Expectedly, it just about gets by. The catalyst for their original breakup would feel more grounded and mature with less exposition and fewer direct statements. As it stands, Merv is slight and sweet, hitting every expected note. Making a film with this canine conflict is not terrible – though I wouldn't call it a brilliant concept.
- Merv becomes available on Amazon Prime Video on December 10th.
