🔗 Share this article

It is an often-repeated piece of advice in certain circles that jointly caring for a dog after a breakup is a recipe for trouble. The consensus suggests such situations hinder former couples from healing, lead to scheduling chaos, lead to tension, and are a nuisance across the board. Apparently, as a development fit for a streaming movie, it can even cause the canine in question to become depressed.

While respecting the mental health of dogs – countless people attest to their remarkable empathy. For a masterclass in canine melancholy, one need only look recent cinema. I firmly believe that a dog like Merv, a wired-hair terrier mix portrayed by a talented dog named Gus, would find it difficult adjusting to split households. If this concept an entire Christmas romance around this situation works effectively is debatable at best.

A Familiar Formula

To its credit, Merv, the work of Dane Clark and Linsey Stewart and directed by director Swale, doesn't pretend to be more profound than what it is. This is a seasonal offering from a corporate studio – the ambitions remains surface-level. The plot is destined to be simple and direct: 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, decide on a therapeutic trip to a dog-friendly resort. Once there, as expected, they will presumably rediscover the idea that they belong with each other. Side characters – featuring familiar faces – are crafted as quirky, thinly written, or broadly comic. Visually is reminiscent of a platform's in-house production, with a Christmas setting that is clearly manufactured – exemplified by obvious snow effects surrounding lush pines as North Carolina substitutes for a cold December city.

Where the Film Shines

Whether these predictable parts coalesce into a pleasant experience rests upon the strength of the performances and the viewer's appetite for comfort viewing. On the latter point, Merv hones in on a demographic – individuals who seek out for pet content. The film delivers a series of canine-centric sequences. The central draw is the canine star, and though it results in some clunky cuts between animal action and human reaction, the movie succeeds in showing walking sequences, dog depression, and, finally, pure puppy happiness.

Where It Wobbles

Such effectiveness does not extend for the interpersonal drama. The film's approach vacillates between relationship drama, zany antics, formulaic romance, and outright slapstick, never fully committing to a single genre. No blame falls on Cox's performance, who is willing to embrace the silliness and cringe required by the unusual premise. He brings a charming humility that offers much of the film's charm for this seemingly ideal couple. Anna's portrayer, in her typical fashion, imparts a particular brand of eccentricity that will either resonate with viewers. Her portrayal can feel a little too aloof, especially when alongside Cox's heartfelt sincerity. (On another note, the canine performer is convincing at looking despondent – he may not be a canine thespian of that caliber, he remains a very good boy.)

The film attempts to give weight to Anna and Russ's relationship for moments when the dog is absent – a bit of a pity, considering Merv is by far the most adorable aspect of this cute-aiming movie. Expectedly, it just about gets by. The catalyst for the split might seem more nuanced with greater exploration and less blunt explanation. As it stands, Merv is gentle and pleasant, meeting precisely what you anticipate. Creating a movie on this shared-custody premise is not terrible – but I wouldn't call it a great one either.

• Merv streams on Amazon Prime Video starting December 10.