This is an often-repeated piece of advice for numerous people that sharing custody a dog post-separation is a terrible idea. The consensus suggests such setups impede former couples from finding closure, create logistical nightmares, fuel disputes, and prove frustrating for everyone involved. As it turns out, as a development worthy of a direct-to-platform film, it can even cause the dogs themselves to become depressed.
While respecting the emotional well-being of our pets – pet parents observe their profound sensitivity. To witness a standout portrayal in dog sorrow, one need only look another performance. There is little doubt that a dog such as Merv, a spirited little dog portrayed by Gus the Dog, would struggle adjusting to divided living arrangements. Whether this premise an entire Christmas romance on such a setup works effectively is debatable at best.A Familiar Formula
To its credit, Merv, written by Dane Clark and Linsey Stewart and under the guidance of playwright Jessica Swale, doesn't pretend to be deeper than a light film. It functions as a Christmas movie from a major tech-and-media conglomerate – the complexity remains surface-level. The plot is destined to be straightforward: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their own sadness is matched by their dog's, embark on a cheer-up vacation to a dog-friendly resort. Once there, as expected, they will surely rediscover the idea that they should reunite. Side characters – featuring familiar faces – are crafted as the usual assortment of types. The film's look carries the feel of a platform's in-house production, with a Christmas setting that is visibly contrived – think flurries piled on verdant foliage as a warm climate stands in for a cold December city.
Where the Film Shines
How these predictable parts come together into an entertaining watch rests upon the strength of the performances and an acceptance of comfort viewing. On the latter point, Merv knows its audience – individuals who browse regularly for pet content. Audiences receive a plethora of canine-centric sequences. The primary selling point is the canine star, and though it results in some clunky cuts between the pet's "lines" and human reaction, the movie delivers on dog beach fun, canine sorrow, and, ultimately, pure puppy happiness.
The Human Element
Such effectiveness cannot be applied for the interpersonal drama. Its style shifts uneasily between emotional depth, zany antics, predictable love story, and outright slapstick, never fully committing to a single genre. This is not Cox's performance, who is admirably committed the silliness and cringe required by the dog resort scenario. He brings a charming humility that supplies the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, in her typical fashion, imparts a particular brand of eccentricity that will either resonate with viewers. Her portrayal can feel a bit too dry, particularly when alongside Cox's genuine sadness. (On another note, Merv himself succeeds in acting depressed – he may not be Messi from that acclaimed drama, he's definitely an excellent dog.)
The story strives to give weight to the central romance for moments when the dog is absent – a regrettable choice, considering the dog is easily the best part of this cute-aiming movie. As one might predict, it achieves only baseline competence. The catalyst for the split might seem more adult and realistic with greater exploration and fewer direct statements. Ultimately, Merv is slight and sweet, fulfilling all its marks. Crafting a story about dog co-parenting isn't a bad idea – though I wouldn't call it a stroke of genius.
- Merv premieres on the Amazon platform this December.
