This is a common warning in certain circles that co-parenting a canine companion after a breakup is a recipe for trouble. Most will argue such arrangements impede ex-partners from healing, cause practical headaches, spark arguments, and become annoying for all parties. As it turns out, and in a twist fit for a direct-to-platform film, it also makes the canine in question to feel down.
Not to downplay the emotional well-being of dogs – pet parents attest to their remarkable empathy. To witness a prime example in canine melancholy, one need only look a past film. There is little doubt that a dog of Merv's nature, a spirited little dog portrayed by a talented dog named Gus, would struggle adapting to split households. Whether this premise an entire Christmas romance on this conflict holds water is a questionable prospect.A Familiar Formula
Honestly, Merv, the work of its screenwriters and under the guidance of playwright Jessica Swale, never aspires to be deeper than a light film. We have here a Christmas movie from a streaming platform giant – the depth is limited. The plot is destined to be straightforward: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their post-breakup gloom is rivaled only by their dog's, take a uplifting getaway to a luxury pet hotel. There, inevitably, they will undoubtedly stumble toward the idea that they are better together. Side characters – including a group of comedic actors – are crafted as quirky, thinly written, or broadly comic. Its aesthetic carries the feel of a streaming service original, with a Christmas setting that is obviously artificial – as seen in flurries clinging to green trees as a summer location stands in for a cold December city.
Where the Film Shines
If these familiar elements come together into something enjoyable hinges on the strength of the performances and the viewer's appetite for easy entertainment. Regarding the second aspect, Merv targets a specific viewer – the kind who seek out for cute animal clips. It provides a wealth of canine-centric sequences. The primary selling point is the dog, and though it results in some awkward editing between the pet's "lines" and people's faces, the movie does offer canine party antics, canine sorrow, and, ultimately, doggie joy.
Where It Wobbles
Such effectiveness cannot be applied for the interpersonal drama. The film's approach wavers between relationship drama, broad humor, formulaic romance, and silly gags, never fully committing to any one mode. No blame falls on Cox's performance, who is admirably committed the silliness and cringe inherent in the bizarre setting. His performance contains a endearing lack of ego that offers a significant portion of the appeal for this ostensibly perfect couple. Zooey Deschanel, as is her trademark, injects a certain millennial quirkiness that will click for some but not others. Her Anna seems a little too aloof, particularly when alongside Cox's vulnerable performance. (On another note, Merv himself is convincing at acting depressed – while no the award-winner from Anatomy of a Fall, he's definitely an excellent dog.)
The story strives to provide depth to the couple's history for scenes without their pet – a bit of a pity, since the dog is undoubtedly the cutest element of this feel-good picture. Expectedly, it just about gets by. The catalyst for their separation would feel more adult and realistic with more screen time and more subtle storytelling. Ultimately, Merv is gentle and pleasant, fulfilling all its marks. Making a film about dog co-parenting isn't a bad idea – but it's not exactly a stroke of genius.
- Merv premieres on Prime Video this December.
