🔗 Share this article

This is an often-repeated piece of advice in certain circles that jointly caring for a dog following a split is a terrible idea. Most will argue such setups impede ex-partners from finding closure, lead to scheduling chaos, spark arguments, and prove frustrating across the board. As it turns out, and in a twist suited to a direct-to-platform film, it can even cause the canine in question to experience sadness.

Not to downplay the emotional well-being of dogs – pet parents observe their remarkable empathy. To witness a prime example in dog sorrow, simply recall another performance. There is little doubt that a dog such as Merv, a wired-hair terrier mix portrayed by Gus the Dog, would struggle adapting to life in two homes. The idea of basing an entire Christmas romance on such a setup works effectively is rather doubtful.

Standard Holiday Fare

Fairness demands noting, Merv, written by its screenwriters and under the guidance of director Swale, makes no grand claims more profound than its premise. It functions as a Christmas movie from a streaming platform giant – the ambitions is limited. The plot is destined to be straightforward: exes Russ, played by Charlie Cox and Anna (Zooey Deschanel), realizing that their post-breakup gloom is matched by their dog's, take a therapeutic trip to a dog-friendly resort. There, inevitably, they will presumably realize the idea that they belong with each other. The supporting cast – featuring familiar faces – fulfill roles quirky, thinly written, or broadly comic. Visually carries the feel of a streaming service original, with a wintry atmosphere that is obviously artificial – as seen in obvious snow effects clinging to verdant foliage as North Carolina doubles as a cold December city.

The Dog's Domain

How these familiar elements coalesce into a pleasant experience depends on the execution and the viewer's appetite for comfort viewing. For the comfort factor, Merv knows its audience – those people who scroll endlessly for dog videos. Audiences receive a wealth of canine-centric sequences. The primary selling point is the canine star, and though it results in some stilted moments between the pet's "lines" and people's faces, the movie does offer walking sequences, dog depression, and, in the end, pure puppy happiness.

The Human Element

Such effectiveness cannot be applied for the romantic plot. The tone wavers between relationship drama, wacky comedy, formulaic romance, and physical comedy, never fully committing to a single genre. This is not Cox's performance, who is admirably committed the silliness and cringe inherent in the unusual premise. His performance contains a charming humility that supplies the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, true to her usual style, brings a particular brand of eccentricity that will either resonate with viewers. Her portrayal can feel a bit too dry, particularly when contrasted against Cox's genuine sadness. (For what it's worth, Merv himself is convincing at looking despondent – he may not be the award-winner from Anatomy of a Fall, he is still a very good boy.)

Merv tries to add substance to the couple's history for moments when the dog is absent – a bit of a pity, since Merv is undoubtedly the most adorable aspect of this film designed for charm. Unsurprisingly, it just about gets by. The reason for their separation could have been more nuanced with more screen time and more subtle storytelling. Ultimately, Merv is slight and sweet, fulfilling precisely what you anticipate. Creating a movie on this shared-custody premise is not terrible – but it's hardly a great one either.

• Merv premieres on Prime Video on December 10th.