This is an often-repeated piece of advice for numerous people that sharing custody a dog post-separation is a terrible idea. Experts frequently claim such arrangements hinder individuals from moving forward, lead to scheduling chaos, spark arguments, and are a nuisance for all parties. Seemingly, and in a twist fit for a streaming movie, it reportedly leads to the canine in question to feel down.
Without minimizing the mental health of our pets – many owners observe their deep emotional capacity. For a masterclass in canine melancholy, consider recent cinema. It seems certain that a dog such as Merv, a scruffy terrier type portrayed by Gus the Dog, would have a hard time coping with life in two homes. Whether this premise an entire Christmas romance on this conflict holds water is rather doubtful.Standard Holiday Fare
Honestly, Merv, written by the writing duo and directed by Jessica Swale, doesn't pretend to be more profound than a light film. This is a seasonal offering from a major tech-and-media conglomerate – the ambitions is limited. The narrative is destined to be uncomplicated: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing that their own sadness is rivaled only by their dog's, decide on a uplifting getaway to a canine-centric retreat. Once there, as expected, they will undoubtedly realize the idea that they belong with each other. Side characters – played by Chris Redd, Jasmine Mathews, and others – are crafted as quirky, thinly written, or broadly comic. Its aesthetic has the quality of a platform's in-house production, with a Christmas setting that is obviously artificial – as seen in obvious snow effects clinging to verdant foliage as a warm climate stands in for the Northeast.
The Dog's Domain
Whether these standard ingredients coalesce into a pleasant experience depends on the strength of the performances and the viewer's appetite for cinematic comfort food. On the latter point, Merv hones in on a demographic – those people who scroll endlessly for pet content. The film delivers a wealth of canine-centric sequences. The primary selling point is the dog, and though it results in some stilted moments between what the dog does and human reaction, the movie delivers on walking sequences, dog depression, and, finally, a tail-wagging resolution.
The Human Element
Such effectiveness does not extend for the human side of the story. The film's approach vacillates between relationship drama, broad humor, formulaic romance, and outright slapstick, not quite landing a single genre. No blame falls on Cox's performance, who is fully game the humiliating and funny required by the dog resort scenario. His performance contains a likable self-deprecation that supplies a significant portion of the appeal for this on-the-rocks couple. Her co-star Deschanel, as is her trademark, imparts a distinctive offbeat energy that will either resonate with viewers. The character comes across as a touch too detached, particularly when alongside Cox's vulnerable performance. (It should be noted, Merv himself succeeds in flopping and whining – while no Messi from that acclaimed drama, he's definitely a very good boy.)
Merv tries to provide depth to the central romance for moments when the dog is absent – a regrettable choice, considering the dog is undoubtedly the most adorable aspect of this film designed for charm. Unsurprisingly, it just about gets by. The catalyst for their separation could have been more nuanced with less exposition and fewer direct statements. As it stands, Merv is slight and sweet, hitting all its marks. Creating a movie on this shared-custody premise is not terrible – even if I wouldn't call it a brilliant concept.
- Merv streams on Prime Video this December.
