This is a widely held belief in certain circles that sharing custody a dog following a split is ill-advised. Most will argue such arrangements hinder individuals from finding closure, cause practical headaches, lead to tension, and are a nuisance for all parties. Apparently, in a revelation fit for a direct-to-platform film, it can even cause the canine in question to experience sadness.
While respecting the mental health of our pets – many owners observe their profound sensitivity. If you need prime example in pet despair, simply recall recent cinema. I firmly believe that a dog of Merv's nature, a spirited little dog portrayed by a talented dog named Gus, would have a hard time adjusting to divided living arrangements. If this concept an entire Christmas romance on such a setup is sustainable seems debatable at best.Predictable Foundations
Honestly, Merv, written by Dane Clark and Linsey Stewart and under the guidance of director Swale, makes no grand claims more profound than what it is. This is a Christmas movie from a major tech-and-media conglomerate – the complexity are modest. The narrative proves to be straightforward: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their individual funk is surpassed by their dog's, decide on a therapeutic trip to a dog-friendly resort. There, inevitably, they will surely rediscover the idea that they belong with each other. Ensemble players – including Chris Redd, Jasmine Mathews, and others – fulfill roles the usual assortment of types. The film's look carries the feel of a platform's in-house production, with a holiday backdrop that is obviously artificial – exemplified by obvious snow effects surrounding green trees as a warm climate substitutes for a cold December city.
Where the Film Shines
Whether these standard ingredients coalesce into a pleasant experience depends on the actors' work and one's taste for comfort viewing. Regarding the second aspect, Merv hones in on a demographic – the kind who browse regularly for cute animal clips. The film delivers a series of scenes focused on the pet. The primary selling point is the dog, and though it results in some awkward editing between what the dog does and human reaction, the movie does offer walking sequences, dog depression, and, in the end, pure puppy happiness.
Where It Wobbles
This level of success cannot be applied for the human side of the story. Its style shifts uneasily between emotional depth, zany antics, predictable love story, and outright slapstick, failing to master any one mode. The fault lies not with Charlie Cox, who is admirably committed the silliness and cringe demanded of the unusual premise. His performance contains a charming humility that provides the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, true to her usual style, brings a certain millennial quirkiness that will be to your taste or not. Her Anna seems a touch too detached, especially when alongside Cox's heartfelt sincerity. (It should be noted, Merv himself succeeds in looking despondent – while no the award-winner from Anatomy of a Fall, he remains a scene-stealer.)
The film attempts to add substance to Anna and Russ's relationship for moments when the dog is absent – a regrettable choice, since the title character is by far the most adorable aspect of this film designed for charm. Unsurprisingly, it achieves only baseline competence. The cause for their separation would feel more nuanced with more screen time and more subtle storytelling. As it stands, Merv is slight and sweet, hitting every expected note. Making a film on this shared-custody premise is not terrible – even if it's not exactly a stroke of genius.
- Merv premieres on Amazon Prime Video starting December 10.
