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It is a common warning among many that jointly caring for a canine companion post-separation is a recipe for trouble. The consensus suggests such arrangements hinder individuals from healing, cause practical headaches, lead to tension, and are a nuisance for all parties. Apparently, and in a twist worthy of a direct-to-platform film, it reportedly leads to the dogs themselves to feel down.

Without minimizing the inner life of dogs – countless people observe their deep emotional capacity. To witness a masterclass in canine melancholy, simply recall a past film. There is little doubt that a dog like Merv, a scruffy terrier type brought to life by the canine actor Gus, would struggle coping with split households. If this concept a full holiday film on this conflict is sustainable remains debatable at best.

A Familiar Formula

To its credit, Merv, the work of Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, never aspires to be deeper than what it is. This is a Christmas movie from a major tech-and-media conglomerate – the depth are modest. The plot proves to be uncomplicated: former spouses Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their post-breakup gloom is matched by their dog's, decide on a cheer-up vacation to a dog-friendly resort. At this location, predictably, they will surely realize the idea that they should reunite. Ensemble players – played by Chris Redd, Jasmine Mathews, and others – are crafted as eccentric, underutilized, or over-the-top. The film's look has the quality of a platform's in-house production, with a holiday backdrop that is visibly contrived – think fake snow piled on lush pines as a summer location stands in for the Northeast.

The Dog's Domain

If these predictable parts come together into something enjoyable depends on the strength of the performances and one's taste for easy entertainment. On the latter point, Merv targets a specific viewer – those people who scroll endlessly for dog videos. It provides a series of adorable dog montages. The primary selling point is Merv himself, and while this leads to some clunky cuts between the pet's "lines" and human reaction, the movie succeeds in showing canine party antics, dog depression, and, in the end, doggie joy.

Where It Wobbles

The same praise does not extend for the interpersonal drama. Its style wavers between emotional depth, wacky comedy, standard rom-com beats, and silly gags, failing to master a single genre. This is not Cox's performance, who is fully game the silliness and cringe demanded of the dog resort scenario. His performance contains a likable self-deprecation that offers much of the film's charm for this on-the-rocks couple. Anna's portrayer, true to her usual style, brings a distinctive offbeat energy that will click for some but not others. Her portrayal can feel a bit too dry, particularly when paired with Cox's vulnerable performance. (It should be noted, Gus the Dog succeeds in flopping and whining – not quite Messi from that acclaimed drama, he remains a very good boy.)

The story strives to add substance to the central romance for scenes without their pet – a bit of a pity, since Merv is easily the best part of this film designed for charm. Expectedly, it just about gets by. The cause for their separation might seem more adult and realistic with more screen time and more subtle storytelling. As it stands, Merv is light and sugary, fulfilling precisely what you anticipate. Crafting a story on this shared-custody premise is not terrible – though it's not exactly a great one either.

• Merv streams on Prime Video on December 10th.