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It is an often-repeated piece of advice for numerous people that sharing custody a dog following a split is a terrible idea. Experts frequently claim such situations prevent former couples from moving forward, create logistical nightmares, lead to tension, and prove frustrating across the board. As it turns out, and in a twist fit for a direct-to-platform film, it can even cause the dogs themselves to feel down.

Not to downplay the emotional well-being of our pets – many owners observe their deep emotional capacity. For a standout portrayal in pet despair, simply recall recent cinema. It seems certain that a dog of Merv's nature, a wired-hair terrier mix brought to life by a talented dog named Gus, would struggle adjusting to divided living arrangements. If this concept a full holiday film around this situation holds water is debatable at best.

Standard Holiday Fare

To its credit, Merv, crafted by the writing duo and under the guidance of playwright Jessica Swale, makes no grand claims anything more than its premise. It functions as a Christmas movie from a corporate studio – the ambitions are modest. Its storyline unfolds as uncomplicated: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is matched by their dog's, decide on a uplifting getaway to a dog-friendly resort. Once there, as expected, they will presumably rediscover the idea that they should reunite. Side characters – featuring Chris Redd, Jasmine Mathews, and others – serve as quirky, thinly written, or broadly comic. Its aesthetic is reminiscent of a branded content, with a holiday backdrop that is obviously artificial – exemplified by flurries clinging to green trees as a summer location doubles as a wintery Boston.

The Dog's Domain

How these familiar elements coalesce into something enjoyable rests upon the execution and an acceptance of easy entertainment. For the comfort factor, Merv knows its audience – the kind who scroll endlessly for dog videos. Audiences receive a wealth of scenes focused on the pet. The main attraction is the dog, and even if it causes some stilted moments between the pet's "lines" and the actors' responses, the movie delivers on canine party antics, pet moping, and, ultimately, pure puppy happiness.

Where It Wobbles

Such effectiveness is not earned for the human side of the story. The tone shifts uneasily between emotional depth, zany antics, formulaic romance, and physical comedy, not quite landing a single genre. The fault lies not with Cox's performance, who is admirably committed the silliness and cringe required by the unusual premise. Cox exhibits a likable self-deprecation that provides much of the film's charm for this on-the-rocks couple. Anna's portrayer, in her typical fashion, injects a particular brand of eccentricity that will be to your taste or not. The character comes across as a touch too detached, notably when paired with Cox's heartfelt sincerity. (It should be noted, Merv himself succeeds in flopping and whining – not quite Messi from that acclaimed drama, he is still an excellent dog.)

The film attempts to provide depth to the couple's history for moments when the dog is absent – a regrettable choice, given that the dog is easily the best part of this feel-good picture. Expectedly, it meets the bare minimum. The catalyst for the split might seem more nuanced with more screen time and more subtle storytelling. In the end, Merv is light and sugary, meeting precisely what you anticipate. Crafting a story with this canine conflict is not terrible – even if it's not exactly a stroke of genius.

• Merv streams on Prime Video starting December 10.