This is a widely held belief in certain circles that sharing custody a dog following a split is a terrible idea. Experts frequently claim such arrangements hinder individuals from finding closure, lead to scheduling chaos, spark arguments, and are a nuisance across the board. Seemingly, and in a twist suited to a direct-to-platform film, it also makes the canine in question to feel down.
Not to downplay the inner life of our pets – countless people observe their deep emotional capacity. If you need masterclass in pet despair, simply recall another performance. There is little doubt that a dog like Merv, a spirited little dog portrayed by a talented dog named Gus, would have a hard time coping with life in two homes. The idea of basing a full holiday film around this situation works effectively remains debatable at best.Predictable Foundations
Honestly, Merv, written by Dane Clark and Linsey Stewart and helmed by Jessica Swale, never aspires to be anything more than what it is. We have here a Christmas movie from a major tech-and-media conglomerate – the complexity is limited. Its storyline unfolds as simple and direct: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their own sadness is rivaled only by their dog's, decide on a therapeutic trip to a canine-centric retreat. There, inevitably, they will undoubtedly realize the idea that they are better together. Side characters – featuring Chris Redd, Jasmine Mathews, and others – are crafted as quirky, thinly written, or broadly comic. Its aesthetic is reminiscent of a streaming service original, with a Christmas setting that is clearly manufactured – exemplified by flurries surrounding lush pines as a warm climate stands in for the Northeast.
The Dog's Domain
If these predictable parts coalesce into a pleasant experience depends on the actors' work and the viewer's appetite for easy entertainment. Regarding the second aspect, Merv knows its audience – the kind who seek out for pet content. It provides a wealth of adorable dog montages. The central draw is the canine star, and while this leads to some stilted moments between animal action and the actors' responses, the movie delivers on dog beach fun, dog depression, and, ultimately, doggie joy.
Where It Wobbles
Such effectiveness cannot be applied for the romantic plot. Its style wavers between serious study, broad humor, predictable love story, and outright slapstick, failing to master a consistent feel. No blame falls on Cox's performance, who is fully game the silliness and cringe required by the dog resort scenario. He brings a endearing lack of ego that offers a significant portion of the appeal for this seemingly ideal couple. Anna's portrayer, true to her usual style, brings a certain millennial quirkiness that will either resonate with viewers. The character can feel a little too aloof, particularly when alongside Cox's heartfelt sincerity. (On another note, Gus the Dog succeeds in flopping and whining – while no a canine thespian of that caliber, he's definitely a very good boy.)
The story strives to give weight to the couple's history for scenes without their pet – a regrettable choice, given that the title character is easily the best part of this film designed for charm. Unsurprisingly, it meets the bare minimum. The catalyst for their original breakup might seem more grounded and mature with less exposition and more subtle storytelling. Ultimately, Merv is light and sugary, hitting all its marks. Creating a movie on this shared-custody premise isn't a bad idea – but it's hardly a brilliant concept.
- Merv streams on Prime Video this December.
