This is an often-repeated piece of advice in certain circles that sharing custody a dog after a breakup is a recipe for trouble. Experts frequently claim such situations prevent ex-partners from finding closure, cause practical headaches, spark arguments, and are a nuisance for all parties. Apparently, as a development suited to a direct-to-platform film, it reportedly leads to our furry friends to feel down.
Not to downplay the inner life of our pets – countless people observe their profound sensitivity. For a standout portrayal in dog sorrow, one need only look a past film. There is little doubt that a dog like Merv, a wired-hair terrier mix played by Gus the Dog, would struggle adapting to divided living arrangements. If this concept an entire Christmas romance on this conflict is sustainable remains rather doubtful.Predictable Foundations
Honestly, Merv, the work of Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, never aspires to be more profound than what it is. It functions as a holiday release from a corporate studio – the depth are modest. Its storyline is destined to be straightforward: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing 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 – featuring familiar faces – fulfill roles quirky, thinly written, or broadly comic. Its aesthetic has the quality of a streaming service original, with a wintry atmosphere that is visibly contrived – as seen in obvious snow effects piled on green trees as a summer location doubles as the Northeast.
The Dog's Domain
How these familiar elements merge into an entertaining watch hinges on the strength of the performances and the viewer's appetite for easy entertainment. For the comfort factor, Merv targets a specific viewer – those people who browse regularly for pet content. It provides a plethora of canine-centric sequences. The central draw is the dog, and while this leads to some awkward editing between the pet's "lines" and human reaction, the movie does offer canine party antics, canine sorrow, and, in the end, doggie joy.
Where It Wobbles
This level of success does not extend for the human side of the story. The film's approach wavers between relationship drama, broad humor, formulaic romance, and outright slapstick, failing to master any one mode. This is not Cox's performance, who is admirably committed the absurd and awkward inherent in the bizarre setting. His performance contains a endearing lack of ego that provides much of the film's charm for this seemingly ideal couple. Anna's portrayer, true to her usual style, brings a distinctive offbeat energy that will click for some but not others. The character seems a bit too dry, notably when paired with Cox's genuine sadness. (It should be noted, the canine performer manages looking despondent – not quite the award-winner from Anatomy of a Fall, he's definitely an excellent dog.)
The film attempts to give weight to the central romance for scenes without their pet – a regrettable choice, given that the dog is undoubtedly the best part of this feel-good picture. Expectedly, it achieves only baseline competence. The catalyst for the split might seem more grounded and mature with less exposition and fewer direct statements. In the end, Merv is gentle and pleasant, fulfilling every expected note. Making a film on this shared-custody premise isn't a bad idea – though I wouldn't call it a great one either.
- Merv streams on Prime Video starting December 10.
