This is an often-repeated piece of advice among many that jointly caring for a pet following a split is a terrible idea. Most will argue such setups hinder former couples from healing, cause practical headaches, fuel disputes, and become annoying across the board. Seemingly, and in a twist fit for a direct-to-platform film, it can even cause the canine in question to feel down.
While respecting the emotional well-being of animals – pet parents observe their profound sensitivity. For a standout portrayal in canine melancholy, consider recent cinema. I firmly believe that a dog of Merv's nature, a wired-hair terrier mix played by the canine actor Gus, would find it difficult adapting to life in two homes. Whether this premise a feature-length romcom on this conflict holds water seems rather doubtful.Standard Holiday Fare
Fairness demands noting, Merv, written by its screenwriters and directed by playwright Jessica Swale, never aspires to be deeper than a light film. We have here a seasonal offering from a major tech-and-media conglomerate – the depth is limited. The narrative is destined to be simple and direct: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their own sadness is rivaled only by their dog's, embark on a cheer-up vacation to a dog-friendly resort. Once there, as expected, they will undoubtedly rediscover the idea that they belong with each other. Side characters – including familiar faces – are crafted as eccentric, underutilized, or over-the-top. Visually carries the feel of a platform's in-house production, with a holiday backdrop that is clearly manufactured – exemplified by fake snow surrounding green trees as a warm climate doubles as a wintery Boston.
The Dog's Domain
Whether these predictable parts coalesce into something enjoyable depends on the actors' work and an acceptance of easy entertainment. For the comfort factor, Merv hones in on a demographic – the kind who browse regularly for pet content. Audiences receive a series of scenes focused on the pet. The primary selling point is Merv himself, and even if it causes some awkward editing between the pet's "lines" and people's faces, the movie succeeds in showing canine party antics, dog depression, and, in the end, pure puppy happiness.
Where It Wobbles
This level of success is not earned for the interpersonal drama. Its style wavers between serious study, wacky comedy, formulaic romance, and outright slapstick, not quite landing any one mode. No blame falls on Charlie Cox, who is willing to embrace the absurd and awkward demanded of the bizarre setting. His performance contains a likable self-deprecation that provides the bulk of the chemistry for this on-the-rocks couple. Anna's portrayer, true to her usual style, brings a particular brand of eccentricity that will either resonate with viewers. Her portrayal can feel a bit too dry, especially when paired with Cox's vulnerable performance. (For what it's worth, Gus the Dog succeeds in looking despondent – not quite a canine thespian of that caliber, he remains a scene-stealer.)
The story strives to give weight to the central romance for scenes without their pet – which is unfortunate, since Merv is undoubtedly the cutest element of this film designed for charm. Expectedly, it just about gets by. The catalyst for their original breakup would feel more adult and realistic with more screen time and fewer direct statements. Ultimately, Merv is slight and sweet, hitting every expected note. Creating a movie on this shared-custody premise has potential – but it's not exactly a stroke of genius.
- Merv streams on the Amazon platform on December 10th.
