This is an often-repeated piece of advice for numerous people that co-parenting a pet post-separation is a recipe for trouble. Most will argue such situations hinder ex-partners from healing, create logistical nightmares, fuel disputes, and prove frustrating across the board. Seemingly, as a development fit for a direct-to-platform film, it also makes the canine in question to feel down.
While respecting the mental health of our pets – many owners attest to their remarkable empathy. For a standout portrayal in canine melancholy, simply recall recent cinema. It seems certain that a dog such as Merv, a wired-hair terrier mix brought to life by Gus the Dog, would find it difficult adapting to life in two homes. Whether this premise a feature-length romcom on this conflict is sustainable seems a questionable prospect.Standard Holiday Fare
To its credit, Merv, the work of Dane Clark and Linsey Stewart and directed by Jessica Swale, makes no grand claims more profound than a light film. This is a seasonal offering from a major tech-and-media conglomerate – the depth are modest. The narrative is destined to be simple and direct: former spouses Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their individual funk is rivaled only by their dog's, take a uplifting getaway to a dog-friendly resort. Once there, as expected, they will surely realize the idea that they belong with each other. Ensemble players – featuring a group of comedic actors – serve as the usual assortment of types. The film's look is reminiscent of a platform's in-house production, with a holiday backdrop that is visibly contrived – exemplified by fake snow surrounding green trees as a warm climate stands in for the Northeast.
Where the Film Shines
Whether these familiar elements merge into something enjoyable hinges on the execution and the viewer's appetite for cinematic comfort food. Regarding the second aspect, Merv targets a specific viewer – those people who scroll endlessly for cute animal clips. It provides a wealth of canine-centric sequences. The central draw is the dog, and while this leads to some awkward editing between the pet's "lines" and people's faces, the movie delivers on canine party antics, dog depression, and, finally, pure puppy happiness.
The Human Element
Such effectiveness cannot be applied for the interpersonal drama. The film's approach wavers between relationship drama, zany antics, standard rom-com beats, and silly gags, not quite landing a consistent feel. No blame falls on Cox's performance, who is willing to embrace the silliness and cringe inherent in the dog resort scenario. He brings a charming humility that supplies a significant portion of the appeal for this ostensibly perfect couple. Her co-star Deschanel, in her typical fashion, injects a distinctive offbeat energy that will either resonate with viewers. Her Anna can feel a little too aloof, particularly when alongside Cox's heartfelt sincerity. (It should be noted, Merv himself is convincing at looking despondent – while no the award-winner from Anatomy of a Fall, he remains a scene-stealer.)
The film attempts to add substance to the couple's history for scenes without their pet – a regrettable choice, since the title character is by far the best part of this feel-good picture. Expectedly, it just about gets by. The reason for their original breakup might seem more adult and realistic with less exposition and fewer direct statements. Ultimately, Merv is gentle and pleasant, hitting all its marks. Crafting a story about dog co-parenting isn't a bad idea – though I wouldn't call it a great one either.
- Merv streams on the Amazon platform this December.
