It is an often-repeated piece of advice among many that co-parenting a dog post-separation is ill-advised. The consensus suggests such arrangements hinder former couples from healing, cause practical headaches, fuel disputes, and prove frustrating for everyone involved. As it turns out, and in a twist fit for a direct-to-platform film, it also makes the canine in question to become depressed.
Not to downplay the emotional well-being of our pets – many owners observe their deep emotional capacity. If you need prime example in pet despair, one need only look recent cinema. It seems certain that a dog such as Merv, a spirited little dog brought to life by Gus the Dog, would struggle adapting to divided living arrangements. The idea of basing a full holiday film on such a setup works effectively seems a questionable prospect.A Familiar Formula
To its credit, Merv, the work of Dane Clark and Linsey Stewart and helmed by director Swale, makes no grand claims deeper than a light film. It functions as a seasonal offering from a major tech-and-media conglomerate – the ambitions are modest. The plot is destined to be simple and direct: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their individual funk is surpassed by their dog's, embark on a therapeutic trip to a canine-centric retreat. At this location, predictably, they will undoubtedly rediscover the idea that they belong with each other. Side characters – featuring a group of comedic actors – serve as the usual assortment of types. The film's look carries the feel of a streaming service original, with a holiday backdrop that is obviously artificial – think fake snow piled on verdant foliage as a summer location substitutes for a wintery Boston.
Where the Film Shines
How these standard ingredients coalesce into a pleasant experience rests upon the execution and the viewer's appetite for easy entertainment. On the latter point, Merv hones in on a demographic – individuals who browse regularly for pet content. It provides a series of adorable dog montages. The main attraction is Merv himself, and though it results in some clunky cuts between animal action and people's faces, the movie delivers on walking sequences, pet moping, and, in the end, a tail-wagging resolution.
Where It Wobbles
Such effectiveness does not extend for the romantic plot. Its style wavers between emotional depth, zany antics, predictable love story, and physical comedy, failing to master a consistent feel. The fault lies not with Cox's performance, who is willing to embrace the humiliating and funny required by the unusual premise. His performance contains a likable self-deprecation that offers a significant portion of the appeal for this ostensibly perfect couple. Zooey Deschanel, as is her trademark, imparts a certain millennial quirkiness that will either resonate with viewers. Her Anna can feel a bit too dry, particularly when paired with Cox's heartfelt sincerity. (For what it's worth, Merv himself is convincing at looking despondent – not quite Messi from that acclaimed drama, he is still a scene-stealer.)
Merv tries to add substance to the couple's history for moments when the dog is absent – a bit of a pity, considering the title character is by far the cutest element of this film designed for charm. Expectedly, it just about gets by. The catalyst for the split would feel more nuanced with greater exploration and less blunt explanation. As it stands, Merv is gentle and pleasant, meeting every expected note. Creating a movie with this canine conflict isn't a bad idea – even if I wouldn't call it a brilliant concept.
- Merv becomes available on the Amazon platform starting December 10.
