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It is a common warning for numerous people that sharing custody a canine companion post-separation is a terrible idea. Most will argue such setups prevent ex-partners from finding closure, cause practical headaches, fuel disputes, and prove frustrating across the board. Apparently, in a revelation suited to a direct-to-platform film, it also makes our furry friends to become depressed.

Not to downplay the mental health of dogs – many owners observe their deep emotional capacity. For a prime example in canine melancholy, consider recent cinema. I firmly believe that a dog of Merv's nature, a spirited little dog brought to life by Gus the Dog, would struggle coping with split households. The idea of basing a full holiday film on such a setup is sustainable remains rather doubtful.

A Familiar Formula

Fairness demands noting, Merv, crafted by its screenwriters and directed by playwright Jessica Swale, doesn't pretend to be anything more than what it is. This is a Christmas movie from a major tech-and-media conglomerate – the depth are modest. The narrative proves to be straightforward: exes Russ, played by Charlie Cox and Anna (Zooey Deschanel), realizing that their own sadness is matched by their dog's, embark on a uplifting getaway to a canine-centric retreat. There, inevitably, they will surely stumble toward the idea that they are better together. Side characters – played by a group of comedic actors – are crafted as eccentric, underutilized, or over-the-top. Its aesthetic carries the feel of a streaming service original, with a holiday backdrop that is clearly manufactured – think fake snow clinging to verdant foliage as North Carolina doubles as a cold December city.

The Dog's Domain

If these standard ingredients merge into a pleasant experience hinges on the actors' work and the viewer's appetite for comfort viewing. For the comfort factor, Merv hones in on a demographic – the kind who browse regularly for dog videos. The film delivers a series of scenes focused on the pet. The main attraction is the canine star, and even if it causes some awkward editing between animal action and human reaction, the movie succeeds in showing dog beach fun, dog depression, and, in the end, doggie joy.

Where It Wobbles

The same praise does not extend for the human side of the story. The film's approach wavers between serious study, wacky comedy, standard rom-com beats, and silly gags, not quite landing a single genre. This is not Charlie Cox, who is willing to embrace the absurd and awkward inherent in the dog resort scenario. His performance contains a likable self-deprecation that provides the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, as is her trademark, injects a particular brand of eccentricity that will either resonate with viewers. The character can feel a bit too dry, especially when alongside Cox's genuine sadness. (It should be noted, Gus the Dog is convincing at looking despondent – while no the award-winner from Anatomy of a Fall, he's definitely an excellent dog.)

Merv tries to give weight to the central romance for moments when the dog is absent – which is unfortunate, considering the title character is easily the best part of this film designed for charm. Expectedly, it just about gets by. The cause for their original breakup might seem more grounded and mature with greater exploration and less blunt explanation. Ultimately, Merv is gentle and pleasant, hitting every expected note. Creating a movie about dog co-parenting isn't a bad idea – but I wouldn't call it a great one either.

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