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It is a common warning among many that co-parenting a pet following a split is a recipe for trouble. Experts frequently claim such arrangements hinder ex-partners from healing, create logistical nightmares, spark arguments, and prove frustrating for all parties. Apparently, as a development suited to a direct-to-platform film, it also makes the canine in question to experience sadness.

While respecting the inner life of our pets – many owners observe their deep emotional capacity. If you need standout portrayal in canine melancholy, one need only look another performance. I firmly believe that a dog such as Merv, a spirited little dog brought to life by the canine actor Gus, would find it difficult adjusting to split households. Whether this premise an entire Christmas romance on such a setup is sustainable seems debatable at best.

A Familiar Formula

Fairness demands noting, Merv, crafted by Dane Clark and Linsey Stewart and under the guidance of director Swale, doesn't pretend to be more profound than its premise. We have here a Christmas movie from a major tech-and-media conglomerate – the complexity is limited. The plot is destined to be simple and direct: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is surpassed by their dog's, take a uplifting getaway to a canine-centric retreat. Once there, as expected, they will surely stumble toward the idea that they belong with each other. The supporting cast – featuring familiar faces – fulfill roles quirky, thinly written, or broadly comic. The film's look has the quality of a platform's in-house production, with a Christmas setting that is visibly contrived – exemplified by obvious snow effects surrounding green trees as a summer location doubles as a wintery Boston.

Where the Film Shines

If these standard ingredients coalesce into an entertaining watch depends on the execution and one's taste for easy entertainment. For the comfort factor, Merv knows its audience – those people who seek out for pet content. The film delivers a series of canine-centric sequences. The central draw is the dog, and though it results in some stilted moments between the pet's "lines" and the actors' responses, the movie does offer dog beach fun, pet moping, and, finally, pure puppy happiness.

The Human Element

This level of success does not extend for the interpersonal drama. The film's approach wavers between relationship drama, broad humor, predictable love story, and physical comedy, never fully committing to a consistent feel. This is not Charlie Cox, who is willing to embrace the silliness and cringe inherent in the dog resort scenario. His performance contains a likable self-deprecation that offers a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, true to her usual style, brings a particular brand of eccentricity that will either resonate with viewers. Her Anna comes across as a touch too detached, notably when paired with Cox's heartfelt sincerity. (For what it's worth, Gus the Dog is convincing at flopping and whining – not quite Messi from that acclaimed drama, he remains a scene-stealer.)

The film attempts to give weight to the central romance for scenes without their pet – a regrettable choice, considering Merv is easily the most adorable aspect of this film designed for charm. Unsurprisingly, it just about gets by. The cause for their separation might seem more nuanced with less exposition and less blunt explanation. In the end, Merv is slight and sweet, meeting precisely what you anticipate. Making a film on this shared-custody premise has potential – though I wouldn't call it a great one either.

• Merv streams on Prime Video this December.