This is an often-repeated piece of advice in certain circles that sharing custody a pet post-separation is a terrible idea. Experts frequently claim such arrangements impede ex-partners from healing, lead to scheduling chaos, lead to tension, and are a nuisance for all parties. As it turns out, and in a twist fit for a direct-to-platform film, it also makes the dogs themselves to feel down.
Without minimizing the emotional well-being of animals – countless people attest to their profound sensitivity. If you need prime example in canine melancholy, consider a past film. I firmly believe that a dog like Merv, a scruffy terrier type played by Gus the Dog, would have a hard time adapting to split households. The idea of basing a feature-length romcom on such a setup is sustainable remains a questionable prospect.Predictable Foundations
Honestly, Merv, the work of Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, doesn't pretend to be deeper than what it is. This is a Christmas movie from a major tech-and-media conglomerate – the ambitions is limited. Its storyline proves to be uncomplicated: former spouses Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their post-breakup gloom is surpassed by their dog's, embark on a therapeutic trip to a canine-centric retreat. There, inevitably, they will undoubtedly realize the idea that they should reunite. Ensemble players – including a group of comedic actors – are crafted as eccentric, underutilized, or over-the-top. Its aesthetic is reminiscent of a branded content, with a wintry atmosphere that is visibly contrived – exemplified by obvious snow effects surrounding lush pines as North Carolina doubles as a cold December city.
Where the Film Shines
If these predictable parts merge into something enjoyable rests upon the execution and an acceptance of cinematic comfort food. On the latter point, Merv hones in on a demographic – individuals who seek out for dog videos. It provides a plethora of canine-centric sequences. The central draw is the dog, and even if it causes some awkward editing between the pet's "lines" and the actors' responses, the movie succeeds in showing walking sequences, pet moping, and, in the end, pure puppy happiness.
The Human Element
The same praise is not earned for the human side of the story. Its style shifts uneasily between emotional depth, zany antics, predictable love story, and physical comedy, not quite landing a single genre. The fault lies not with Charlie Cox, who is fully game the absurd and awkward required by the unusual premise. He brings a endearing lack of ego that offers the bulk of the chemistry for this on-the-rocks couple. Her co-star Deschanel, in her typical fashion, brings a particular brand of eccentricity that will click for some but not others. Her Anna seems a bit too dry, especially when paired with Cox's heartfelt sincerity. (It should be noted, the canine performer manages flopping and whining – while no the award-winner from Anatomy of a Fall, he remains a very good boy.)
The story strives to add substance to the central romance for moments when the dog is absent – a regrettable choice, given that Merv is by far the most adorable aspect of this film designed for charm. As one might predict, it meets the bare minimum. The reason for their separation could have been more nuanced with less exposition and fewer direct statements. As it stands, Merv is slight and sweet, hitting all its marks. Making a film with this canine conflict is not terrible – but I wouldn't call it a stroke of genius.
- Merv becomes available on the Amazon platform this December.
