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This is a common warning among many that jointly caring for a dog following a split is a recipe for trouble. Experts frequently claim such arrangements hinder ex-partners from moving forward, lead to scheduling chaos, fuel disputes, and become annoying for everyone involved. Seemingly, as a development worthy of a direct-to-platform film, it reportedly leads to the dogs themselves to feel down.

Not to downplay the mental health of animals – countless people speak of their profound sensitivity. To witness a masterclass in pet despair, consider another performance. I firmly believe that a dog of Merv's nature, a wired-hair terrier mix played by Gus the Dog, would find it difficult coping with split households. Whether this premise a feature-length romcom on such a setup works effectively remains a questionable prospect.

A Familiar Formula

Fairness demands noting, Merv, crafted by Dane Clark and Linsey Stewart and directed by playwright Jessica Swale, makes no grand claims deeper than a light film. This is a Christmas movie from a major tech-and-media conglomerate – the ambitions is limited. The narrative proves to be straightforward: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is rivaled only by their dog's, decide on a cheer-up vacation to a canine-centric retreat. There, inevitably, they will surely rediscover the idea that they should reunite. Ensemble players – including 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 wintry atmosphere that is obviously artificial – exemplified by flurries surrounding green trees as North Carolina stands in for the Northeast.

The Dog's Domain

Whether these predictable parts come together into something enjoyable hinges on the actors' work and the viewer's appetite for easy entertainment. Regarding the second aspect, Merv knows its audience – individuals who browse regularly for cute animal clips. It provides a wealth of scenes focused on the pet. The primary selling point is the dog, and though it results in some clunky cuts between animal action and the actors' responses, the movie does offer walking sequences, dog depression, and, finally, doggie joy.

The Human Element

This level of success is not earned for the interpersonal drama. The film's approach vacillates between serious study, zany antics, predictable love story, and outright slapstick, not quite landing a single genre. No blame falls on Cox's performance, who is fully game the silliness and cringe demanded of the dog resort scenario. His performance contains a charming humility that provides a significant portion of the appeal for this seemingly ideal couple. Anna's portrayer, as is her trademark, imparts a particular brand of eccentricity that will either resonate with viewers. Her Anna can feel a touch too detached, notably when contrasted against Cox's vulnerable performance. (It should be noted, the canine performer succeeds in looking despondent – he may not be a canine thespian of that caliber, he's definitely a very good boy.)

Merv tries to give weight to the couple's history for moments when the dog is absent – a regrettable choice, considering the title character is easily the most adorable aspect of this cute-aiming movie. As one might predict, it achieves only baseline competence. The catalyst for their separation could have been more grounded and mature with less exposition and more subtle storytelling. Ultimately, Merv is slight and sweet, fulfilling all its marks. Creating a movie on this shared-custody premise isn't a bad idea – though I wouldn't call it a great one either.

• Merv streams on the Amazon platform this December.