🔗 Share this article

This is an often-repeated piece of advice among many that co-parenting a pet after a breakup is a terrible idea. Most will argue such arrangements prevent ex-partners from healing, create logistical nightmares, spark arguments, and are a nuisance across the board. Apparently, and in a twist suited to a streaming movie, it also makes the canine in question to become depressed.

While respecting the mental health of animals – pet parents speak of their profound sensitivity. For a standout portrayal in pet despair, simply recall a past film. It seems certain that a dog such as Merv, a scruffy terrier type played by Gus the Dog, would find it difficult coping with life in two homes. The idea of basing a full holiday film around this situation holds water seems rather doubtful.

A Familiar Formula

Honestly, Merv, crafted by its screenwriters and directed by Jessica Swale, doesn't pretend to be anything more than its premise. It functions as a seasonal offering from a major tech-and-media conglomerate – the complexity remains surface-level. The narrative proves to be straightforward: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, confronting that their post-breakup gloom is rivaled only 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 – featuring a group of comedic actors – fulfill roles eccentric, underutilized, or over-the-top. Its aesthetic carries the feel of a platform's in-house production, with a Christmas setting that is visibly contrived – exemplified by flurries piled on lush pines as a summer location substitutes for a cold December city.

Where the Film Shines

Whether these predictable parts come together into something enjoyable hinges on the strength of the performances and an acceptance of easy entertainment. Regarding the second aspect, Merv targets a specific viewer – the kind who seek out for pet content. Audiences receive a series of canine-centric sequences. The main attraction is the canine star, and though it results in some clunky cuts between animal action and human reaction, the movie succeeds in showing canine party antics, canine sorrow, and, finally, pure puppy happiness.

Where It Wobbles

Such effectiveness does not extend for the romantic plot. The tone shifts uneasily between serious study, zany antics, predictable love story, and physical comedy, never fully committing to any one mode. No blame falls on Charlie Cox, who is willing to embrace the absurd and awkward inherent in the dog resort scenario. He brings a likable self-deprecation that supplies a significant portion of the appeal for this seemingly ideal couple. Her co-star Deschanel, in her typical fashion, brings a certain millennial quirkiness that will be to your taste or not. The character seems a little too aloof, especially when alongside Cox's heartfelt sincerity. (For what it's worth, Gus the Dog manages flopping and whining – not quite a canine thespian of that caliber, he is still a scene-stealer.)

The film attempts to provide depth to the central romance for scenes without their pet – a bit of a pity, given that Merv is by far the most adorable aspect of this film designed for charm. Expectedly, it achieves only baseline competence. The reason for their original breakup could have been more adult and realistic with greater exploration and less blunt explanation. Ultimately, Merv is light and sugary, meeting precisely what you anticipate. Creating a movie with this canine conflict has potential – but it's hardly a brilliant concept.

• Merv premieres on the Amazon platform this December.