This is a common warning for numerous people that co-parenting a pet following a split is a terrible idea. The consensus suggests such setups impede former couples from healing, lead to scheduling chaos, lead to tension, and become annoying across the board. As it turns out, as a development fit for a direct-to-platform film, it also makes the canine in question to experience sadness.
Without minimizing the emotional well-being of animals – many owners observe their remarkable empathy. If you need prime example in dog sorrow, simply recall a past film. There is little doubt that a dog of Merv's nature, a scruffy terrier type brought to life by a talented dog named Gus, would find it difficult adapting to split households. Whether this premise a full holiday film on such a setup works effectively seems rather doubtful.Predictable Foundations
To its credit, Merv, the work of the writing duo and directed by director Swale, doesn't pretend to be more profound than what it is. This is a Christmas movie from a major tech-and-media conglomerate – the depth remains surface-level. The narrative is destined to be uncomplicated: former spouses Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their own sadness is rivaled only by their dog's, embark on a cheer-up vacation to a luxury pet hotel. Once there, as expected, they will surely realize the idea that they are better together. Ensemble players – including familiar faces – fulfill roles eccentric, underutilized, or over-the-top. Its aesthetic has the quality of a platform's in-house production, with a holiday backdrop that is obviously artificial – think obvious snow effects clinging to green trees as North Carolina substitutes for a wintery Boston.
The Canine Charisma
How these familiar elements merge into a pleasant experience depends on the execution and an acceptance of cinematic comfort food. For the comfort factor, Merv hones in on a demographic – individuals who scroll endlessly for dog videos. The film delivers a series of adorable dog montages. The central draw is the canine star, and while this leads to some awkward editing between animal action and people's faces, the movie succeeds in showing canine party antics, dog depression, and, ultimately, doggie joy.
Where It Wobbles
Such effectiveness does not extend for the interpersonal drama. The film's approach shifts uneasily between serious study, wacky comedy, formulaic romance, and silly gags, never fully committing to a single genre. No blame falls on Cox's performance, who is fully game the humiliating and funny inherent in the bizarre setting. His performance contains a endearing lack of ego that supplies the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, as is her trademark, brings a certain millennial quirkiness that will click for some but not others. The character can feel a touch too detached, notably when alongside Cox's genuine sadness. (For what it's worth, Merv himself manages looking despondent – while no a canine thespian of that caliber, he's definitely a scene-stealer.)
The story strives to add substance to Anna and Russ's relationship for scenes without their pet – which is unfortunate, given that the dog is by far the best part of this film designed for charm. Unsurprisingly, it meets the bare minimum. The catalyst for their original breakup would feel more adult and realistic with greater exploration and fewer direct statements. In the end, Merv is slight and sweet, fulfilling precisely what you anticipate. Crafting a story about dog co-parenting is not terrible – even if it's not exactly a stroke of genius.
- Merv premieres on Prime Video starting December 10.
