It is an often-repeated piece of advice among many that co-parenting a dog after a breakup is ill-advised. The consensus suggests such arrangements prevent former couples from healing, cause practical headaches, spark arguments, and become annoying for everyone involved. Apparently, and in a twist fit for a streaming movie, it reportedly leads to the dogs themselves to feel down.
While respecting the mental health of animals – many owners observe their profound sensitivity. If you need standout portrayal in canine melancholy, one need only look recent cinema. It seems certain that a dog of Merv's nature, a spirited little dog played by a talented dog named Gus, would find it difficult adapting to divided living arrangements. The idea of basing a feature-length romcom around this situation holds water seems a questionable prospect.Standard Holiday Fare
To its credit, Merv, the work of Dane Clark and Linsey Stewart and directed by Jessica Swale, makes no grand claims deeper than its premise. We have here a seasonal offering from a major tech-and-media conglomerate – the ambitions remains surface-level. The plot unfolds as simple and direct: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their post-breakup gloom is matched by their dog's, decide on a therapeutic trip to a dog-friendly resort. Once there, as expected, they will surely stumble toward the idea that they are better together. Side characters – played by familiar faces – serve as eccentric, underutilized, or over-the-top. The film's look has the quality of a streaming service original, with a holiday backdrop that is clearly manufactured – think fake snow surrounding lush pines as North Carolina doubles as the Northeast.
Where the Film Shines
Whether these standard ingredients merge into an entertaining watch hinges on the actors' work and one's taste for cinematic comfort food. On the latter point, Merv hones in on a demographic – those people who scroll endlessly for cute animal clips. It provides a series of canine-centric sequences. The primary selling point is the dog, and though it results in some stilted moments between the pet's "lines" and human reaction, the movie does offer walking sequences, dog depression, and, ultimately, doggie joy.
Where It Wobbles
This level of success cannot be applied for the interpersonal drama. The film's approach wavers between serious study, zany antics, formulaic romance, and outright slapstick, never fully committing to any one mode. No blame falls on Cox's performance, who is admirably committed the absurd and awkward required by the bizarre setting. He brings a endearing lack of ego that provides a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, in her typical fashion, imparts a particular brand of eccentricity that will either resonate with viewers. The character can feel a little too aloof, notably when contrasted against Cox's heartfelt sincerity. (On another note, Gus the Dog succeeds in flopping and whining – not quite Messi from that acclaimed drama, he remains a scene-stealer.)
The film attempts to provide depth to the central romance for sequences focusing solely on them – a regrettable choice, since the dog is by far the most adorable aspect of this cute-aiming movie. Expectedly, it just about gets by. The cause for their original breakup would feel more nuanced with more screen time and more subtle storytelling. In the end, Merv is gentle and pleasant, hitting all its marks. Creating a movie on this shared-custody premise isn't a bad idea – though I wouldn't call it a great one either.
- Merv premieres on Prime Video this December.
