It is a widely held belief in certain circles that sharing custody a pet after a breakup is a recipe for trouble. The consensus suggests such arrangements impede individuals from healing, create logistical nightmares, fuel disputes, and are a nuisance for everyone involved. Seemingly, in a revelation suited to a direct-to-platform film, it also makes the canine in question to become depressed.
Not to downplay the inner life of our pets – pet parents observe their deep emotional capacity. For a standout portrayal in pet despair, simply recall recent cinema. It seems certain that a dog such as Merv, a spirited little dog played by a talented dog named Gus, would find it difficult adapting to life in two homes. If this concept a full holiday film on such a setup works effectively remains a questionable prospect.Predictable Foundations
Honestly, Merv, crafted by Dane Clark and Linsey Stewart and directed by playwright Jessica Swale, never aspires to be anything more than what it is. This is a holiday release from a major tech-and-media conglomerate – the ambitions are modest. The narrative proves to be uncomplicated: exes Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their post-breakup gloom is rivaled only by their dog's, take a cheer-up vacation to a canine-centric retreat. At this location, predictably, they will undoubtedly stumble toward the idea that they should reunite. Ensemble players – including Chris Redd, Jasmine Mathews, and others – serve as eccentric, underutilized, or over-the-top. Its aesthetic carries the feel of a platform's in-house production, with a wintry atmosphere that is obviously artificial – exemplified by flurries surrounding green trees as North Carolina doubles as a wintery Boston.
Where the Film Shines
Whether these standard ingredients coalesce into a pleasant experience hinges on the strength of the performances and the viewer's appetite for comfort viewing. Regarding the second aspect, Merv knows its audience – individuals who seek out for dog videos. It provides a wealth of adorable dog montages. The central draw is the canine star, and even if it causes some clunky cuts between what the dog does and the actors' responses, the movie succeeds in showing dog beach fun, dog depression, and, in the end, a tail-wagging resolution.
The Human Element
This level of success does not extend for the interpersonal drama. The tone shifts uneasily between relationship drama, wacky comedy, predictable love story, and physical comedy, failing to master a consistent feel. The fault lies not with Charlie Cox, who is admirably committed the humiliating and funny inherent in the unusual premise. He brings a likable self-deprecation that provides the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, imparts a particular brand of eccentricity that will be to your taste or not. The character can feel a touch too detached, particularly when contrasted against Cox's heartfelt sincerity. (For what it's worth, Gus the Dog succeeds in acting depressed – not quite a canine thespian of that caliber, he remains a very good boy.)
The film attempts to add substance to the central romance for scenes without their pet – which is unfortunate, since the title character is easily the most adorable aspect of this film designed for charm. As one might predict, it meets the bare minimum. The cause for their separation would feel more adult and realistic with greater exploration and fewer direct statements. As it stands, Merv is light and sugary, fulfilling every expected note. Creating a movie about dog co-parenting isn't a bad idea – even if it's hardly a brilliant concept.
- Merv becomes available on Amazon Prime Video this December.
