It is a common warning for numerous people that jointly caring for a pet post-separation is ill-advised. The consensus suggests such arrangements impede ex-partners from moving forward, lead to scheduling chaos, lead to tension, and prove frustrating for all parties. Seemingly, and in a twist worthy of a direct-to-platform film, it reportedly leads to the dogs themselves to feel down.
Without minimizing the emotional well-being of our pets – pet parents observe their profound sensitivity. To witness a prime example in dog sorrow, simply recall recent cinema. There is little doubt that a dog like Merv, a scruffy terrier type played by Gus the Dog, would struggle adjusting to split households. The idea of basing a full holiday film on such a setup holds water seems rather doubtful.Predictable Foundations
To its credit, Merv, the work of the writing duo and helmed by playwright Jessica Swale, doesn't pretend to be deeper than a light film. We have here a seasonal offering from a major tech-and-media conglomerate – the depth remains surface-level. The plot proves to be uncomplicated: a separated couple Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their individual funk is rivaled only by their dog's, take a cheer-up vacation to a canine-centric retreat. At this location, predictably, they will surely stumble toward the idea that they belong with each other. Side characters – including Chris Redd, Jasmine Mathews, and others – serve as eccentric, underutilized, or over-the-top. The film's look is reminiscent of a platform's in-house production, with a Christmas setting that is obviously artificial – as seen in flurries clinging to green trees as a warm climate substitutes for the Northeast.
Where the Film Shines
If these familiar elements merge into something enjoyable hinges on the actors' work and the viewer's appetite for cinematic comfort food. Regarding the second aspect, Merv hones in on a demographic – those people who scroll endlessly for dog videos. Audiences receive a wealth of adorable dog montages. The primary selling point is the dog, and even if it causes some clunky cuts between what the dog does and people's faces, the movie delivers on canine party antics, dog depression, and, in the end, a tail-wagging resolution.
The Human Element
Such effectiveness cannot be applied for the romantic plot. The tone shifts uneasily between emotional depth, zany antics, standard rom-com beats, and outright slapstick, never fully committing to a single genre. The fault lies not with Cox's performance, who is fully game the silliness and cringe required by the unusual premise. He brings a endearing lack of ego that provides the bulk of the chemistry for this ostensibly perfect couple. Her co-star Deschanel, true to her usual style, imparts a particular brand of eccentricity that will be to your taste or not. Her Anna comes across as a touch too detached, notably when contrasted against Cox's vulnerable performance. (On another note, Merv himself manages looking despondent – not quite a canine thespian of that caliber, he remains a scene-stealer.)
Merv tries to give weight to the central romance for scenes without their pet – a bit of a pity, considering Merv is undoubtedly the most adorable aspect of this film designed for charm. As one might predict, it meets the bare minimum. The cause for their original breakup would feel more grounded and mature with less exposition and fewer direct statements. Ultimately, Merv is light and sugary, fulfilling precisely what you anticipate. Crafting a story about dog co-parenting is not terrible – though I wouldn't call it a brilliant concept.
- Merv streams on the Amazon platform starting December 10.
