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It is a common warning for numerous people that sharing custody a pet after a breakup is a terrible idea. Most will argue such setups hinder former couples from healing, cause practical headaches, spark arguments, and are a nuisance for everyone involved. Apparently, as a development fit for a direct-to-platform film, it reportedly leads to the canine in question to experience sadness.

Without minimizing the inner life of our pets – many owners attest to their remarkable empathy. For a masterclass in dog sorrow, one need only look another performance. There is little doubt that a dog like Merv, a spirited little dog portrayed by the canine actor Gus, would struggle adjusting to divided living arrangements. The idea of basing an entire Christmas romance on such a setup works effectively seems rather doubtful.

Standard Holiday Fare

Honestly, Merv, crafted by Dane Clark and Linsey Stewart and under the guidance of playwright Jessica Swale, never aspires to be more profound than its premise. This is a holiday release from a corporate studio – the complexity is limited. Its storyline unfolds as straightforward: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their own sadness is rivaled only by their dog's, decide on a cheer-up vacation to a luxury pet hotel. At this location, predictably, they will presumably realize the idea that they are better together. Side characters – played by familiar faces – are crafted as quirky, thinly written, or broadly comic. The film's look carries the feel of a platform's in-house production, with a Christmas setting that is clearly manufactured – think flurries surrounding lush pines as a summer location substitutes for a wintery Boston.

Where the Film Shines

Whether these predictable parts merge into a pleasant experience rests upon the strength of the performances and one's taste for easy entertainment. For the comfort factor, Merv knows its audience – those people who seek out for pet content. Audiences receive a series of canine-centric sequences. The central draw is the dog, and though it results in some clunky cuts between the pet's "lines" and human reaction, the movie delivers on dog beach fun, canine sorrow, and, in the end, a tail-wagging resolution.

Where It Wobbles

The same praise does not extend for the romantic plot. The tone shifts uneasily between serious study, broad humor, formulaic romance, and physical comedy, not quite landing a single genre. The fault lies not with Charlie Cox, who is admirably committed the silliness and cringe demanded of the unusual premise. His performance contains a charming humility that provides a significant portion of the appeal for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, brings a distinctive offbeat energy that will either resonate with viewers. The character can feel a touch too detached, particularly when contrasted against Cox's heartfelt sincerity. (For what it's worth, Merv himself manages flopping and whining – he may not be a canine thespian of that caliber, he is still a scene-stealer.)

The story strives to give weight to the couple's history for sequences focusing solely on them – a regrettable choice, given that Merv is easily the most adorable aspect of this film designed for charm. As one might predict, it meets the bare minimum. The reason for their separation could have been more nuanced with greater exploration and more subtle storytelling. Ultimately, Merv is light and sugary, hitting precisely what you anticipate. Making a film with this canine conflict isn't a bad idea – but it's not exactly a great one either.

• Merv premieres on Prime Video this December.