It is an often-repeated piece of advice among many that sharing custody a dog following a split is a recipe for trouble. Experts frequently claim such setups impede ex-partners from finding closure, create logistical nightmares, spark arguments, and become annoying for all parties. As it turns out, as a development worthy of a direct-to-platform film, it also makes the dogs themselves to become depressed.
Not to downplay the inner life of our pets – countless people observe their remarkable empathy. For a standout portrayal in pet despair, one need only look another performance. I firmly believe that a dog of Merv's nature, a wired-hair terrier mix portrayed by the canine actor Gus, would have a hard time adapting to divided living arrangements. If this concept a full holiday film on such a setup works effectively is debatable at best.Predictable Foundations
Fairness demands noting, Merv, crafted by Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, makes no grand claims anything more than what it is. It functions as a holiday release from a major tech-and-media conglomerate – the complexity is limited. The plot unfolds as uncomplicated: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, realizing that their individual funk is rivaled only by their dog's, embark on a uplifting getaway to a luxury pet hotel. Once there, as expected, they will presumably rediscover the idea that they are better together. Side characters – played by a group of comedic actors – serve as the usual assortment of types. The film's look carries the feel of a platform's in-house production, with a wintry atmosphere that is obviously artificial – exemplified by obvious snow effects piled on green trees as North Carolina doubles as the Northeast.
The Dog's Domain
How these standard ingredients merge into an entertaining watch rests upon the actors' work and the viewer's appetite for comfort viewing. On the latter point, Merv knows its audience – the kind who browse regularly for cute animal clips. Audiences receive a plethora of adorable dog montages. The primary selling point is the dog, and while this leads to some clunky cuts between the pet's "lines" and people's faces, the movie delivers on walking sequences, canine sorrow, and, ultimately, a tail-wagging resolution.
Where It Wobbles
This level of success does not extend for the interpersonal drama. The film's approach vacillates between relationship drama, zany antics, formulaic romance, and physical comedy, not quite landing any one mode. The fault lies not with Cox's performance, who is admirably committed the absurd and awkward demanded of the unusual premise. Cox exhibits a endearing lack of ego that offers much of the film's charm for this seemingly ideal couple. Zooey Deschanel, as is her trademark, injects a distinctive offbeat energy that will either resonate with viewers. Her Anna seems a touch too detached, especially when contrasted against Cox's vulnerable performance. (For what it's worth, the canine performer manages flopping and whining – he may not be 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 sequences focusing solely on them – a bit of a pity, given that the dog is easily the most adorable aspect of this feel-good picture. Expectedly, it just about gets by. The reason for their separation might seem more nuanced with greater exploration and fewer direct statements. As it stands, Merv is light and sugary, fulfilling all its marks. Crafting a story about dog co-parenting is not terrible – though I wouldn't call it a stroke of genius.
- Merv streams on Prime Video this December.
