This is an often-repeated piece of advice among many that co-parenting a pet post-separation is ill-advised. The consensus suggests such arrangements impede individuals from healing, cause practical headaches, spark arguments, and prove frustrating for all parties. Apparently, and in a twist fit for a streaming movie, it can even cause the canine in question to become depressed.
Not to downplay the inner life of animals – many owners speak of their deep emotional capacity. If you need prime example in canine melancholy, one need only look recent cinema. It seems certain that a dog of Merv's nature, a scruffy terrier type portrayed by a talented dog named Gus, would find it difficult coping with life in two homes. The idea of basing a feature-length romcom on such a setup works effectively remains rather doubtful.Standard Holiday Fare
Honestly, Merv, the work of its screenwriters and helmed by playwright Jessica Swale, doesn't pretend to be deeper than what it is. We have here a Christmas movie from a major tech-and-media conglomerate – the depth are modest. The narrative is destined to be simple and direct: former spouses Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their individual funk is surpassed by their dog's, embark on a cheer-up vacation to a luxury pet hotel. There, inevitably, they will surely rediscover the idea that they should reunite. Ensemble players – featuring a group of comedic actors – are crafted as eccentric, underutilized, or over-the-top. The film's look carries the feel of a platform's in-house production, with a Christmas setting that is visibly contrived – exemplified by fake snow clinging to green trees as North Carolina stands in for a wintery Boston.
The Dog's Domain
How these standard ingredients coalesce into a pleasant experience hinges on the actors' work and one's taste for comfort viewing. For the comfort factor, Merv hones in on a demographic – those people who browse regularly for pet content. Audiences receive a wealth of scenes focused on the pet. The primary selling point is the dog, and though it results in some clunky cuts between what the dog does and human reaction, the movie succeeds in showing walking sequences, canine sorrow, and, ultimately, doggie joy.
The Human Element
The same praise cannot be applied for the interpersonal drama. The tone vacillates between emotional depth, wacky comedy, standard rom-com beats, and outright slapstick, never fully committing to any one mode. This is not the actor playing Russ, who is fully game the absurd and awkward demanded of the unusual premise. Cox exhibits a likable self-deprecation that supplies much of the film's charm for this on-the-rocks couple. Anna's portrayer, in her typical fashion, imparts a particular brand of eccentricity that will be to your taste or not. Her portrayal comes across as a touch too detached, notably when contrasted against Cox's vulnerable performance. (It should be noted, the canine performer succeeds in looking despondent – while no Messi from that acclaimed drama, he is still a scene-stealer.)
Merv tries to give weight to the central romance for scenes without their pet – a regrettable choice, considering the title character is undoubtedly the best part of this cute-aiming movie. Expectedly, it meets the bare minimum. The catalyst for their separation would feel more nuanced with more screen time and less blunt explanation. As it stands, Merv is slight and sweet, meeting all its marks. Creating a movie on this shared-custody premise is not terrible – though it's hardly a brilliant concept.
- Merv premieres on Prime Video this December.
