This is a common warning for numerous people that sharing custody a dog post-separation is a recipe for trouble. Most will argue such situations impede former couples from finding closure, cause practical headaches, lead to tension, and are a nuisance for all parties. As it turns out, and in a twist suited to a direct-to-platform film, it also makes the canine in question to feel down.
While respecting the emotional well-being of dogs – countless people attest to their deep emotional capacity. For a standout portrayal in dog sorrow, one need only look recent cinema. It seems certain that a dog such as Merv, a scruffy terrier type brought to life by a talented dog named Gus, would have a hard time adjusting to life in two homes. If this concept an entire Christmas romance on this conflict works effectively remains a questionable prospect.Predictable Foundations
To its credit, Merv, crafted by the writing duo and under the guidance of Jessica Swale, makes no grand claims anything more than what it is. It functions as a seasonal offering from a major tech-and-media conglomerate – the depth are modest. The narrative unfolds as simple and direct: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, confronting that their individual funk is rivaled only by their dog's, decide on a uplifting getaway to a canine-centric retreat. At this location, predictably, they will undoubtedly stumble toward the idea that they should reunite. Side characters – featuring familiar faces – are crafted as eccentric, underutilized, or over-the-top. Visually is reminiscent of a platform's in-house production, with a wintry atmosphere that is clearly manufactured – think fake snow surrounding lush pines as North Carolina stands in for a wintery Boston.
The Dog's Domain
If these standard ingredients coalesce into a pleasant experience rests upon the actors' work and an acceptance of easy entertainment. For the comfort factor, Merv targets a specific viewer – those people who browse regularly for pet content. Audiences receive a wealth of canine-centric sequences. The main attraction is the dog, and even if it causes some stilted moments between the pet's "lines" and the actors' responses, the movie delivers on walking sequences, dog depression, and, finally, pure puppy happiness.
The Human Element
The same praise cannot be applied for the interpersonal drama. Its style shifts uneasily between emotional depth, broad humor, predictable love story, and physical comedy, not quite landing a consistent feel. The fault lies not with Cox's performance, who is fully game the silliness and cringe demanded of the bizarre setting. He brings a endearing lack of ego that supplies much of the film's charm for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, imparts a particular brand of eccentricity that will either resonate with viewers. Her portrayal seems a touch too detached, especially when contrasted against Cox's vulnerable performance. (On another note, the canine performer is convincing at flopping and whining – not quite a canine thespian of that caliber, he remains a very good boy.)
Merv tries to give weight to the couple's history for scenes without their pet – a regrettable choice, since the dog is undoubtedly the cutest element of this film designed for charm. Expectedly, it meets the bare minimum. The cause for their original breakup could have been more grounded and mature with less exposition and less blunt explanation. In the end, Merv is slight and sweet, meeting precisely what you anticipate. Crafting a story about dog co-parenting isn't a bad idea – but it's hardly a great one either.
- Merv premieres on the Amazon platform on December 10th.
