This is an often-repeated piece of advice for numerous people that co-parenting a canine companion post-separation is a terrible idea. Experts frequently claim such setups impede former couples from moving forward, lead to scheduling chaos, fuel disputes, and prove frustrating across the board. Apparently, in a revelation worthy of a streaming movie, it reportedly leads to our furry friends to become depressed.
While respecting the inner life of animals – pet parents speak of their profound sensitivity. For a masterclass in canine melancholy, consider a past film. I firmly believe that a dog such as Merv, a scruffy terrier type brought to life by Gus the Dog, would have a hard time coping with split households. The idea of basing a feature-length romcom on this conflict works effectively is debatable at best.Predictable Foundations
Fairness demands noting, Merv, written by Dane Clark and Linsey Stewart and helmed by director Swale, makes no grand claims deeper than what it is. We have here a holiday release from a streaming platform giant – the ambitions are modest. The narrative unfolds as simple and direct: a separated couple Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, confronting that their individual funk is rivaled only by their dog's, embark on a therapeutic trip to a luxury pet hotel. Once there, as expected, they will undoubtedly stumble toward the idea that they are better together. Ensemble players – played by a group of comedic actors – fulfill roles the usual assortment of types. The film's look is reminiscent of a branded content, with a Christmas setting that is visibly contrived – exemplified by flurries piled on verdant foliage as a warm climate substitutes for a wintery Boston.
The Dog's Domain
If these familiar elements coalesce into something enjoyable depends on the strength of the performances and an acceptance of easy entertainment. On the latter point, Merv knows its audience – individuals who seek out for dog videos. The film delivers a wealth of canine-centric sequences. The central draw is the dog, and even if it causes some awkward editing between what the dog does and the actors' responses, the movie succeeds in showing dog beach fun, canine sorrow, and, finally, a tail-wagging resolution.
Where It Wobbles
The same praise does not extend for the romantic plot. The tone wavers between relationship drama, broad humor, predictable love story, and silly gags, failing to master a consistent feel. No blame falls on Cox's performance, who is admirably committed the humiliating and funny inherent in the unusual premise. His performance contains a likable self-deprecation that offers a significant portion of the appeal for this ostensibly perfect couple. Anna's portrayer, true to her usual style, injects a distinctive offbeat energy that will either resonate with viewers. Her portrayal comes across as a bit too dry, particularly when contrasted against Cox's vulnerable performance. (On another note, Gus the Dog succeeds in acting depressed – he may not be a canine thespian of that caliber, he remains a very good boy.)
Merv tries to add substance to Anna and Russ's relationship for moments when the dog is absent – a bit of a pity, given that the dog is by far the cutest element of this cute-aiming movie. As one might predict, it just about gets by. The catalyst for their separation would feel more nuanced with more screen time and less blunt explanation. In the end, Merv is slight and sweet, meeting all its marks. Making a film on this shared-custody premise is not terrible – but I wouldn't call it a stroke of genius.
- Merv streams on the Amazon platform on December 10th.
