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It is a common warning for numerous people that sharing custody a canine companion after a breakup is ill-advised. Most will argue such situations impede individuals from moving forward, lead to scheduling chaos, lead to tension, and prove frustrating across the board. Seemingly, as a development suited to a direct-to-platform film, it also makes the dogs themselves to become depressed.

Without minimizing the inner life of animals – countless people attest to their deep emotional capacity. If you need standout portrayal in pet despair, one need only look another performance. It seems certain that a dog like Merv, a spirited little dog brought to life by Gus the Dog, would find it difficult coping with life in two homes. Whether this premise a full holiday film around this situation holds water is rather doubtful.

Predictable Foundations

Honestly, Merv, the work of Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, never aspires to be more profound than a light film. It functions as a Christmas movie from a major tech-and-media conglomerate – the complexity is limited. The narrative unfolds as uncomplicated: former spouses Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, confronting that their individual funk is rivaled only by their dog's, decide on a therapeutic trip to a canine-centric retreat. There, inevitably, they will undoubtedly stumble toward the idea that they should reunite. Ensemble players – including familiar faces – serve as the usual assortment of types. Visually has the quality of a streaming service original, with a wintry atmosphere that is obviously artificial – think flurries clinging to lush pines as North Carolina stands in for a cold December city.

Where the Film Shines

Whether these predictable parts merge into a pleasant experience hinges on the strength of the performances and the viewer's appetite for easy entertainment. For the comfort factor, Merv knows its audience – those people who seek out for cute animal clips. The film delivers a series of canine-centric sequences. The primary selling point is the canine star, and while this leads to some clunky cuts between animal action and human reaction, the movie delivers on canine party antics, canine sorrow, and, in the end, a tail-wagging resolution.

The Two-Legged Cast

Such effectiveness cannot be applied for the interpersonal drama. The film's approach vacillates between serious study, wacky comedy, predictable love story, and physical comedy, not quite landing a consistent feel. The fault lies not with Charlie Cox, who is fully game the silliness and cringe required by the bizarre setting. He brings a endearing lack of ego that offers much of the film's charm for this ostensibly perfect couple. Zooey Deschanel, in her typical fashion, imparts a certain millennial quirkiness that will be to your taste or not. Her Anna comes across as a touch too detached, especially when paired with Cox's genuine sadness. (On another note, the canine performer succeeds in flopping and whining – not quite the award-winner from Anatomy of a Fall, he is still a scene-stealer.)

Merv tries to add substance to the central romance for moments when the dog is absent – which is unfortunate, considering the dog is easily the cutest element of this feel-good picture. Expectedly, it just about gets by. The catalyst for their original breakup would feel more adult and realistic with more screen time and less blunt explanation. In the end, Merv is gentle and pleasant, fulfilling every expected note. Crafting a story with this canine conflict isn't a bad idea – but I wouldn't call it a great one either.

• Merv streams on the Amazon platform this December.