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This is a common warning among many that jointly caring for a dog post-separation is a recipe for trouble. The consensus suggests such arrangements prevent ex-partners from moving forward, lead to scheduling chaos, spark arguments, and become annoying for everyone involved. Seemingly, as a development suited to a direct-to-platform film, it also makes our furry friends to feel down.

Not to downplay the emotional well-being of our pets – many owners observe their remarkable empathy. If you need masterclass in pet despair, simply recall another performance. It seems certain that a dog of Merv's nature, a spirited little dog brought to life by the canine actor Gus, would find it difficult adapting to divided living arrangements. The idea of basing a full holiday film on such a setup holds water is debatable at best.

Predictable Foundations

Honestly, Merv, the work of Dane Clark and Linsey Stewart and under the guidance of playwright Jessica Swale, makes no grand claims more profound than a light film. It functions as a holiday release from a corporate studio – the ambitions remains surface-level. The narrative proves to be simple and direct: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their individual funk is surpassed by their dog's, take a uplifting getaway to a canine-centric retreat. There, inevitably, they will surely rediscover the idea that they belong with each other. Side characters – including familiar faces – are crafted as eccentric, underutilized, or over-the-top. Its aesthetic carries the feel of a branded content, with a holiday backdrop that is clearly manufactured – think fake snow piled on green trees as North Carolina substitutes for the Northeast.

Where the Film Shines

If these predictable parts merge into a pleasant experience hinges on the actors' work and the viewer's appetite for comfort viewing. For the comfort factor, Merv knows its audience – those people who browse regularly for cute animal clips. Audiences receive a wealth of adorable dog montages. The primary selling point is Merv himself, and even if it causes some stilted moments between the pet's "lines" and human reaction, the movie succeeds in showing walking sequences, dog depression, and, ultimately, pure puppy happiness.

Where It Wobbles

This level of success does not extend for the romantic plot. The film's approach wavers between relationship drama, wacky comedy, formulaic romance, and silly gags, failing to master a single genre. This is not Charlie Cox, who is admirably committed the absurd and awkward required by the bizarre setting. His performance contains a charming humility that offers the bulk of the chemistry for this seemingly ideal couple. Her co-star Deschanel, as is her trademark, injects a particular brand of eccentricity that will either resonate with viewers. Her Anna seems a little too aloof, notably when alongside Cox's genuine sadness. (For what it's worth, the canine performer succeeds in looking despondent – not quite a canine thespian of that caliber, he's definitely an excellent dog.)

Merv tries to add substance to the couple's history for scenes without their pet – a bit of a pity, since Merv is easily the best part of this cute-aiming movie. Expectedly, it meets the bare minimum. The reason for their original breakup might seem more grounded and mature with greater exploration and more subtle storytelling. As it stands, Merv is light and sugary, hitting every expected note. Making a film with this canine conflict is not terrible – but I wouldn't call it a brilliant concept.

• Merv premieres on the Amazon platform on December 10th.