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It is a common warning in certain circles that co-parenting a dog post-separation is a terrible idea. The consensus suggests such arrangements impede former couples from finding closure, cause practical headaches, lead to tension, and prove frustrating for everyone involved. Seemingly, in a revelation worthy of a direct-to-platform film, it can even cause the canine in question to experience sadness.

Without minimizing the mental health of dogs – pet parents observe their deep emotional capacity. For a prime example in canine melancholy, simply recall recent cinema. I firmly believe that a dog such as Merv, a scruffy terrier type brought to life by the canine actor Gus, would find it difficult adjusting to life in two homes. The idea of basing an entire Christmas romance on such a setup is sustainable remains debatable at best.

Standard Holiday Fare

Fairness demands noting, Merv, the work of its screenwriters and directed by Jessica Swale, makes no grand claims more profound than a light film. This is a seasonal offering from a corporate studio – the complexity is limited. The plot is destined to be uncomplicated: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their individual funk is surpassed by their dog's, embark on a uplifting getaway to a canine-centric retreat. Once there, as expected, they will presumably realize the idea that they should reunite. Side characters – played by familiar faces – fulfill roles eccentric, underutilized, or over-the-top. The film's look is reminiscent of a branded content, with a holiday backdrop that is clearly manufactured – exemplified by fake snow piled on green trees as North Carolina doubles as a cold December city.

The Dog's Domain

If these standard ingredients come together into something enjoyable depends on the actors' work and the viewer's appetite for comfort viewing. Regarding the second aspect, Merv knows its audience – individuals who seek out for cute animal clips. The film delivers a plethora of canine-centric sequences. The main attraction is the dog, and while this leads to some awkward editing between what the dog does and the actors' responses, the movie does offer canine party antics, canine sorrow, and, in the end, pure puppy happiness.

The Human Element

Such effectiveness cannot be applied for the interpersonal drama. The film's approach vacillates between emotional depth, broad humor, formulaic romance, and outright slapstick, never fully committing to a consistent feel. This is not Cox's performance, who is willing to embrace the absurd and awkward required by the bizarre setting. He brings a likable self-deprecation that provides the bulk of the chemistry for this on-the-rocks couple. Her co-star Deschanel, true to her usual style, brings a particular brand of eccentricity that will either resonate with viewers. The character seems a little too aloof, particularly when contrasted against Cox's genuine sadness. (On another note, Merv himself succeeds in looking despondent – not quite a canine thespian of that caliber, he remains a scene-stealer.)

The story strives to give weight to the couple's history for sequences focusing solely on them – a regrettable choice, since the title character is undoubtedly the most adorable aspect of this film designed for charm. As one might predict, it just about gets by. The reason for their separation could have been more grounded and mature with greater exploration and less blunt explanation. In the end, Merv is gentle and pleasant, meeting every expected note. Making a film with this canine conflict isn't a bad idea – though I wouldn't call it a stroke of genius.

• Merv streams on the Amazon platform on December 10th.