This is a common warning in certain circles that sharing custody a pet post-separation is ill-advised. The consensus suggests such situations hinder ex-partners from moving forward, cause practical headaches, fuel disputes, and prove frustrating for all parties. Apparently, as a development worthy of a direct-to-platform film, it reportedly leads to the canine in question to feel down.
Not to downplay the inner life of our pets – pet parents attest to their deep emotional capacity. To witness a prime example in dog sorrow, simply recall a past film. It seems certain that a dog of Merv's nature, a wired-hair terrier mix brought to life by the canine actor Gus, would find it difficult adapting to split households. The idea of basing a full holiday film around this situation holds water seems rather doubtful.A Familiar Formula
Honestly, Merv, crafted by Dane Clark and Linsey Stewart and under the guidance of director Swale, doesn't pretend to be more profound than a light film. It functions as a Christmas movie from a major tech-and-media conglomerate – the complexity remains surface-level. Its storyline is destined to be simple and direct: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their individual funk is matched by their dog's, decide on a uplifting getaway to a canine-centric retreat. Once there, as expected, they will undoubtedly stumble toward the idea that they belong with each other. Ensemble players – including a group of comedic actors – fulfill roles the usual assortment of types. Its aesthetic is reminiscent of a streaming service original, with a holiday backdrop that is clearly manufactured – think fake snow clinging to verdant foliage as a summer location substitutes for the Northeast.
The Dog's Domain
How these familiar elements merge into a pleasant experience depends on the strength of the performances and an acceptance of cinematic comfort food. On the latter point, Merv knows its audience – those people who scroll endlessly for dog videos. Audiences receive a plethora of canine-centric sequences. The primary selling point is the dog, and even if it causes some awkward editing between what the dog does and human reaction, the movie succeeds in showing dog beach fun, canine sorrow, and, finally, pure puppy happiness.
The Human Element
The same praise is not earned for the romantic plot. Its style wavers between serious study, broad humor, formulaic romance, and outright slapstick, never fully committing to a single genre. No blame falls on the actor playing Russ, who is fully game the absurd and awkward required by the bizarre setting. Cox exhibits a endearing lack of ego that provides a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, true to her usual style, imparts a particular brand of eccentricity that will either resonate with viewers. Her Anna seems a bit too dry, particularly when contrasted against Cox's genuine sadness. (For what it's worth, Merv himself is convincing at looking despondent – while no a canine thespian of that caliber, he remains a very good boy.)
Merv tries to provide depth to Anna and Russ's relationship for moments when the dog is absent – a regrettable choice, since the dog is by far the most adorable aspect of this film designed for charm. Unsurprisingly, it achieves only baseline competence. The reason for their separation might seem more grounded and mature with less exposition and fewer direct statements. As it stands, Merv is light and sugary, meeting every expected note. Making a film with this canine conflict has potential – even if it's hardly a great one either.
- Merv becomes available on the Amazon platform starting December 10.
