🔗 Share this article

It is a widely held belief for numerous people that co-parenting a canine companion post-separation is a recipe for trouble. Most will argue such situations hinder former couples from healing, lead to scheduling chaos, lead to tension, and are a nuisance for everyone involved. Seemingly, and in a twist worthy of a direct-to-platform film, it also makes the dogs themselves to feel down.

Not to downplay the mental health of our pets – many owners observe their remarkable empathy. To witness a prime example in canine melancholy, one need only look a past film. I firmly believe that a dog such as Merv, a wired-hair terrier mix played by a talented dog named Gus, would struggle coping with split households. The idea of basing an entire Christmas romance on this conflict is sustainable seems rather doubtful.

Standard Holiday Fare

Honestly, Merv, written by Dane Clark and Linsey Stewart and under the guidance of director Swale, never aspires to be anything more than what it is. This is a holiday release from a major tech-and-media conglomerate – the ambitions are modest. Its storyline proves to be uncomplicated: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their own sadness is rivaled only by their dog's, embark on a uplifting getaway to a luxury pet hotel. At this location, predictably, they will surely realize the idea that they belong with each other. The supporting cast – including a group of comedic actors – are crafted as quirky, thinly written, or broadly comic. Visually carries the feel of a branded content, with a wintry atmosphere that is obviously artificial – as seen in fake snow clinging to green trees as North Carolina doubles as a wintery Boston.

The Dog's Domain

How these predictable parts come together into a pleasant experience depends on the strength of the performances and an acceptance of comfort viewing. Regarding the second aspect, Merv knows its audience – those people who seek out for cute animal clips. Audiences receive a plethora of scenes focused on the pet. The primary selling point is Merv himself, and though it results in some awkward editing between what the dog does and human reaction, the movie delivers on walking sequences, dog depression, and, ultimately, a tail-wagging resolution.

The Two-Legged Cast

This level of success cannot be applied for the human side of the story. The tone wavers between relationship drama, broad humor, standard rom-com beats, and silly gags, never fully committing to any one mode. No blame falls on Charlie Cox, who is fully game the humiliating and funny inherent in the dog resort scenario. His performance contains a endearing lack of ego that supplies a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, true to her usual style, injects a certain millennial quirkiness that will either resonate with viewers. The character can feel a little too aloof, particularly when contrasted against Cox's vulnerable performance. (It should be noted, Gus the Dog succeeds in flopping and whining – while no Messi from that acclaimed drama, he's definitely a very good boy.)

Merv tries to provide depth to Anna and Russ's relationship for sequences focusing solely on them – which is unfortunate, given that the dog is undoubtedly the best part of this film designed for charm. Expectedly, it just about gets by. The catalyst for their separation might seem more nuanced with more screen time and fewer direct statements. As it stands, Merv is light and sugary, hitting all its marks. Making a film with this canine conflict isn't a bad idea – but I wouldn't call it a stroke of genius.

• Merv premieres on Prime Video starting December 10.