This is an often-repeated piece of advice among many that sharing custody a canine companion post-separation is a recipe for trouble. Experts frequently claim such situations prevent former couples from moving forward, cause practical headaches, lead to tension, and prove frustrating 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 become depressed.
Not to downplay the emotional well-being of our pets – pet parents speak of their profound sensitivity. For a masterclass in pet despair, simply recall recent cinema. I firmly believe that a dog such as Merv, a wired-hair terrier mix portrayed by Gus the Dog, would struggle adjusting to divided living arrangements. Whether this premise a feature-length romcom on such a setup is sustainable is debatable at best.A Familiar Formula
To its credit, Merv, the work of Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, doesn't pretend to be anything more than its premise. It functions as a seasonal offering from a corporate studio – the ambitions are modest. Its storyline unfolds as 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, take a uplifting getaway to a luxury pet hotel. Once there, as expected, they will surely realize the idea that they are better together. Ensemble players – including Chris Redd, Jasmine Mathews, and others – fulfill roles the usual assortment of types. The film's look carries the feel of a platform's in-house production, with a Christmas setting that is visibly contrived – as seen in fake snow clinging to lush pines as a warm climate doubles as the Northeast.
The Dog's Domain
Whether these standard ingredients merge into something enjoyable hinges on the execution and one's taste for comfort viewing. On the latter point, Merv hones in on a demographic – the kind who scroll endlessly for cute animal clips. It provides a series of scenes focused on the pet. The central draw is the dog, and even if it causes some awkward editing between the pet's "lines" and the actors' responses, the movie delivers on dog beach fun, pet moping, and, finally, doggie joy.
Where It Wobbles
The same praise is not earned for the interpersonal drama. Its style shifts uneasily between relationship drama, broad humor, predictable love story, and silly gags, failing to master a single genre. No blame falls on Charlie Cox, who is admirably committed the humiliating and funny demanded of the bizarre setting. He brings a likable self-deprecation that offers much of the film's charm for this on-the-rocks couple. Anna's portrayer, as is her trademark, injects a distinctive offbeat energy that will click for some but not others. The character comes across as a little too aloof, particularly when alongside Cox's heartfelt sincerity. (It should be noted, Gus the Dog manages flopping and whining – not quite the award-winner from Anatomy of a Fall, he is still an excellent dog.)
Merv tries to give weight to the central romance for moments when the dog is absent – which is unfortunate, considering Merv is easily the cutest element of this cute-aiming movie. Unsurprisingly, it just about gets by. The cause for the split would feel more nuanced with greater exploration and less blunt explanation. In the end, Merv is light and sugary, meeting precisely what you anticipate. Making a film on this shared-custody premise is not terrible – even if it's not exactly a great one either.
- Merv premieres on the Amazon platform this December.
