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It is a widely held belief for numerous people that jointly caring for a pet following a split is ill-advised. Most will argue such arrangements hinder former couples from finding closure, lead to scheduling chaos, fuel disputes, and prove frustrating across the board. Apparently, in a revelation suited to a direct-to-platform film, it also makes the dogs themselves to become depressed.

Without minimizing the emotional well-being of our pets – countless people speak of their deep emotional capacity. For a masterclass in dog sorrow, simply recall a past film. I firmly believe that a dog such as Merv, a spirited little dog portrayed by a talented dog named Gus, would struggle coping with divided living arrangements. The idea of basing a full holiday film around this situation holds water is debatable at best.

Predictable Foundations

Fairness demands noting, Merv, the work of the writing duo and directed by Jessica Swale, makes no grand claims deeper than its premise. It functions as a holiday release from a major tech-and-media conglomerate – the depth is limited. The plot proves to be uncomplicated: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, realizing that their own sadness is matched by their dog's, embark on a cheer-up vacation to a canine-centric retreat. At this location, predictably, they will surely stumble toward the idea that they belong with each other. Side characters – including familiar faces – are crafted as quirky, thinly written, or broadly comic. Its aesthetic has the quality of a streaming service original, with a holiday backdrop that is obviously artificial – think fake snow piled on green trees as North Carolina doubles as the Northeast.

The Dog's Domain

How these standard ingredients come together into a pleasant experience depends on the strength of the performances and the viewer's appetite for cinematic comfort food. For the comfort factor, Merv hones in on a demographic – individuals who scroll endlessly for cute animal clips. Audiences receive a series of canine-centric sequences. The central draw is Merv himself, and while this leads to some clunky cuts between the pet's "lines" and human reaction, the movie delivers on walking sequences, dog depression, and, ultimately, a tail-wagging resolution.

Where It Wobbles

The same praise does not extend for the romantic plot. The film's approach wavers between relationship drama, wacky comedy, standard rom-com beats, and physical comedy, failing to master a single genre. This is not Charlie Cox, who is willing to embrace the silliness and cringe required by the dog resort scenario. Cox exhibits a endearing lack of ego that provides much of the film's charm for this seemingly ideal couple. Anna's portrayer, true to her usual style, imparts a certain millennial quirkiness that will click for some but not others. Her Anna comes across as a bit too dry, particularly when contrasted against Cox's vulnerable performance. (For what it's worth, the canine performer manages acting depressed – not quite Messi from that acclaimed drama, he remains an excellent dog.)

The story strives to add substance to the central romance for sequences focusing solely on them – a bit of a pity, since the dog is easily the best part of this film designed for charm. As one might predict, it meets the bare minimum. The reason for the split might seem more grounded and mature with less exposition and less blunt explanation. Ultimately, Merv is light and sugary, meeting precisely what you anticipate. Creating a movie on this shared-custody premise isn't a bad idea – even if it's not exactly a stroke of genius.

• Merv premieres on Prime Video starting December 10.