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It is a widely held belief among many that sharing custody a dog after a breakup is a terrible idea. Most will argue such situations hinder ex-partners from moving forward, create logistical nightmares, spark arguments, and prove frustrating for everyone involved. As it turns out, in a revelation worthy of a direct-to-platform film, it can even cause the dogs themselves to experience sadness.

Without minimizing the mental health of our pets – countless people attest to their profound sensitivity. To witness a prime example in dog sorrow, one need only look another performance. There is little doubt that a dog like Merv, a wired-hair terrier mix brought to life by a talented dog named Gus, would find it difficult coping with split households. Whether this premise an entire Christmas romance around this situation holds water is a questionable prospect.

Predictable Foundations

Honestly, Merv, the work of the writing duo and helmed by Jessica Swale, never aspires to be anything more than a light film. It functions as a Christmas movie from a corporate studio – the ambitions are modest. The plot proves to be straightforward: exes Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their individual funk is matched by their dog's, embark on a uplifting getaway to a canine-centric retreat. At this location, predictably, they will surely realize the idea that they are better together. Side characters – featuring 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 visibly contrived – as seen in obvious snow effects clinging to verdant foliage as North Carolina substitutes for a wintery Boston.

Where the Film Shines

How these standard ingredients coalesce into an entertaining watch hinges on the strength of the performances and an acceptance of cinematic comfort food. On the latter point, Merv targets a specific viewer – the kind who seek out for cute animal clips. The film delivers a wealth of scenes focused on the pet. The primary selling point is Merv himself, and even if it causes some clunky cuts between animal action and people's faces, the movie does offer canine party antics, dog depression, and, ultimately, a tail-wagging resolution.

The Human Element

Such effectiveness does not extend for the interpersonal drama. The tone vacillates between emotional depth, wacky comedy, predictable love story, and physical comedy, not quite landing a consistent feel. No blame falls on Charlie Cox, who is willing to embrace the humiliating and funny required by the unusual premise. Cox exhibits a endearing lack of ego that offers much of the film's charm for this seemingly ideal couple. Anna's portrayer, in her typical fashion, injects a distinctive offbeat energy that will click for some but not others. Her Anna seems a bit too dry, particularly when alongside Cox's genuine sadness. (It should be noted, Merv himself is convincing at looking despondent – while no a canine thespian of that caliber, he's definitely a scene-stealer.)

The story strives to give weight to the couple's history for sequences focusing solely on them – a regrettable choice, given that the title character is easily the best part of this cute-aiming movie. Expectedly, it achieves only baseline competence. The reason for their separation could have been more adult and realistic with more screen time and more subtle storytelling. In the end, Merv is slight and sweet, fulfilling precisely what you anticipate. Crafting a story with this canine conflict is not terrible – though it's hardly a great one either.

• Merv premieres on Prime Video this December.