This is an often-repeated piece of advice among many that co-parenting a dog following a split is a terrible idea. The consensus suggests such arrangements prevent ex-partners from healing, cause practical headaches, lead to tension, and prove frustrating across the board. As it turns out, as a development worthy of a direct-to-platform film, it also makes our furry friends to feel down.
Without minimizing the inner life of animals – countless people speak of their profound sensitivity. If you need masterclass in canine melancholy, consider recent cinema. It seems certain that a dog like Merv, a scruffy terrier type portrayed by a talented dog named Gus, would struggle adjusting to divided living arrangements. The idea of basing a full holiday film on this conflict holds water is debatable at best.Predictable Foundations
Fairness demands noting, Merv, written by its screenwriters and helmed by playwright Jessica Swale, never aspires to be deeper than what it is. It functions as a Christmas movie from a major tech-and-media conglomerate – the depth remains surface-level. The narrative is destined to be simple and direct: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their individual funk is matched by their dog's, embark on a cheer-up vacation to a luxury pet hotel. There, inevitably, they will surely rediscover the idea that they should reunite. Ensemble players – played by Chris Redd, Jasmine Mathews, and others – are crafted as the usual assortment of types. The film's look has the quality of a branded content, with a wintry atmosphere that is obviously artificial – think flurries clinging to verdant foliage as a warm climate doubles as a cold December city.
The Dog's Domain
Whether these standard ingredients come together into a pleasant experience depends on the strength of the performances and the viewer's appetite for easy entertainment. For the comfort factor, Merv hones in on a demographic – the kind who seek out for dog videos. It provides a plethora of scenes focused on the pet. The primary selling point is Merv himself, and though it results in some awkward editing between the pet's "lines" and human reaction, the movie does offer walking sequences, canine sorrow, and, finally, a tail-wagging resolution.
Where It Wobbles
This level of success is not earned for the human side of the story. Its style vacillates between serious study, broad humor, formulaic romance, and physical comedy, failing to master any one mode. The fault lies not with Charlie Cox, who is fully game the humiliating and funny required by the unusual premise. His performance contains a endearing lack of ego that offers the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, imparts a distinctive offbeat energy that will click for some but not others. The character can feel a touch too detached, especially when alongside Cox's heartfelt sincerity. (It should be noted, Gus the Dog is convincing at acting depressed – not quite a canine thespian of that caliber, he is still a scene-stealer.)
The film attempts to provide depth to the central romance for scenes without their pet – which is unfortunate, given that the dog is easily the best part of this film designed for charm. Expectedly, it meets the bare minimum. The catalyst for their separation would feel more grounded and mature with more screen time and fewer direct statements. In the end, Merv is gentle and pleasant, meeting every expected note. Making a film about dog co-parenting has potential – but it's hardly a brilliant concept.
- Merv streams on Amazon Prime Video this December.
