This is a common warning in certain circles that co-parenting a pet following a split is a recipe for trouble. Most will argue such arrangements hinder ex-partners from moving forward, cause practical headaches, fuel disputes, and prove frustrating for everyone involved. Apparently, and in a twist worthy of a direct-to-platform film, it can even cause our furry friends to experience sadness.
Not to downplay the inner life of dogs – many owners observe their profound sensitivity. To witness a standout portrayal in pet despair, one need only look a past film. There is little doubt that a dog like Merv, a spirited little dog portrayed by the canine actor Gus, would struggle adjusting to life in two homes. Whether this premise a feature-length romcom around this situation is sustainable is debatable at best.Standard Holiday Fare
Fairness demands noting, Merv, the work of Dane Clark and Linsey Stewart and directed by director Swale, makes no grand claims anything more than a light film. It functions as a holiday release from a major tech-and-media conglomerate – the ambitions are modest. The narrative is destined to be straightforward: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is surpassed by their dog's, embark on a therapeutic trip to a luxury pet hotel. At this location, predictably, they will surely realize the idea that they should reunite. Side characters – featuring Chris Redd, Jasmine Mathews, and others – are crafted as quirky, thinly written, or broadly comic. The film's look is reminiscent of a platform's in-house production, with a wintry atmosphere that is clearly manufactured – exemplified by flurries surrounding verdant foliage as a summer location doubles as the Northeast.
The Dog's Domain
Whether these standard ingredients coalesce into something enjoyable rests upon the strength of the performances and an acceptance of comfort viewing. For the comfort factor, Merv targets a specific viewer – individuals who seek out for pet content. Audiences receive a wealth of canine-centric sequences. The primary selling point is the canine star, and while this leads to some awkward editing between the pet's "lines" and the actors' responses, the movie delivers on walking sequences, canine sorrow, and, ultimately, a tail-wagging resolution.
Where It Wobbles
This level of success cannot be applied for the interpersonal drama. The tone wavers between emotional depth, zany antics, predictable love story, and physical comedy, not quite landing any one mode. The fault lies not with Charlie Cox, who is willing to embrace the humiliating and funny required by the bizarre setting. Cox exhibits a endearing lack of ego that provides much of the film's charm for this ostensibly perfect couple. Her co-star Deschanel, true to her usual style, brings a distinctive offbeat energy that will click for some but not others. Her portrayal can feel a bit too dry, particularly when alongside Cox's heartfelt sincerity. (On another note, Merv himself manages flopping and whining – while no Messi from that acclaimed drama, he is still an excellent dog.)
The film attempts to provide depth to Anna and Russ's relationship for moments when the dog is absent – a bit of a pity, considering the dog is undoubtedly the best part of this film designed for charm. As one might predict, it just about gets by. The catalyst for their separation would feel more grounded and mature with greater exploration and fewer direct statements. In the end, Merv is slight and sweet, hitting all its marks. Creating a movie with this canine conflict has potential – but it's not exactly a great one either.
- Merv streams on Prime Video on December 10th.
