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This is an often-repeated piece of advice for numerous people that co-parenting a pet post-separation is a terrible idea. Experts frequently claim such setups prevent former couples from finding closure, create logistical nightmares, lead to tension, and prove frustrating for everyone involved. Apparently, and in a twist suited to a direct-to-platform film, it reportedly leads to our furry friends to become depressed.

While respecting the inner life of animals – pet parents speak of their deep emotional capacity. To witness a masterclass in pet despair, one need only look recent cinema. There is little doubt that a dog like Merv, a scruffy terrier type brought to life by the canine actor Gus, would have a hard time adjusting to life in two homes. If this concept a full holiday film on such a setup is sustainable remains debatable at best.

Predictable Foundations

Honestly, Merv, crafted by Dane Clark and Linsey Stewart and under the guidance of playwright Jessica Swale, never aspires to be more profound than what it is. It functions as a holiday release from a corporate studio – the ambitions is limited. The plot proves to be straightforward: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their individual funk is surpassed by their dog's, embark on a therapeutic trip to a canine-centric retreat. Once there, as expected, they will surely realize the idea that they belong with each other. Side characters – played by a group of comedic actors – serve as eccentric, underutilized, or over-the-top. Its aesthetic carries the feel of a branded content, with a wintry atmosphere that is visibly contrived – as seen in flurries surrounding lush pines as North Carolina doubles as the Northeast.

The Canine Charisma

How these predictable parts come together into something enjoyable depends on the execution and an acceptance of cinematic comfort food. Regarding the second aspect, Merv hones in on a demographic – individuals who scroll endlessly for cute animal clips. The film delivers a wealth of canine-centric sequences. The main attraction is the canine star, and though it results in some stilted moments between animal action and people's faces, the movie does offer walking sequences, canine sorrow, and, ultimately, a tail-wagging resolution.

Where It Wobbles

Such effectiveness cannot be applied for the human side of the story. The film's approach vacillates between relationship drama, wacky comedy, predictable love story, and silly gags, never fully committing to a consistent feel. The fault lies not with Cox's performance, who is fully game the silliness and cringe required by the bizarre setting. His performance contains a endearing lack of ego that offers a significant portion of the appeal for this ostensibly perfect couple. Her co-star Deschanel, as is her trademark, brings a particular brand of eccentricity that will either resonate with viewers. The character can feel a bit too dry, notably when contrasted against Cox's genuine sadness. (It should be noted, Gus the Dog manages looking despondent – while no Messi from that acclaimed drama, he remains an excellent dog.)

The film attempts to add substance to the central romance for sequences focusing solely on them – which is unfortunate, since the dog is easily the best part of this film designed for charm. Expectedly, it achieves only baseline competence. The catalyst for their separation would feel more nuanced with more screen time and more subtle storytelling. Ultimately, Merv is slight and sweet, hitting all its marks. Creating a movie on this shared-custody premise is not terrible – even if I wouldn't call it a great one either.

• Merv premieres on Amazon Prime Video on December 10th.