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It is a common warning in certain circles that co-parenting a pet after a breakup is a terrible idea. Experts frequently claim such setups impede individuals from healing, cause practical headaches, spark arguments, and are a nuisance across the board. Seemingly, and in a twist worthy of a direct-to-platform film, it also makes our furry friends to experience sadness.

Not to downplay the mental health of animals – many owners attest to their profound sensitivity. If you need masterclass in canine melancholy, consider recent cinema. It seems certain that a dog like Merv, a wired-hair terrier mix played by Gus the Dog, would find it difficult adjusting to life in two homes. If this concept a full holiday film on this conflict is sustainable seems a questionable prospect.

Predictable Foundations

Fairness demands noting, Merv, crafted by Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, doesn't pretend to be anything more than its premise. We have here a Christmas movie from a major tech-and-media conglomerate – the complexity remains surface-level. Its storyline is destined to be uncomplicated: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is rivaled only by their dog's, decide on a uplifting getaway to a luxury pet hotel. At this location, predictably, they will presumably rediscover the idea that they are better together. Ensemble players – including Chris Redd, Jasmine Mathews, and others – fulfill roles quirky, thinly written, or broadly comic. Visually has the quality of a streaming service original, with a wintry atmosphere that is visibly contrived – exemplified by obvious snow effects surrounding lush pines as North Carolina doubles as the Northeast.

Where the Film Shines

If these familiar elements come together into an entertaining watch depends on the execution and the viewer's appetite for cinematic comfort food. For the comfort factor, Merv targets a specific viewer – those people who browse regularly for pet content. The film delivers a series of canine-centric sequences. The central draw is the canine star, and even if it causes some awkward editing between animal action and the actors' responses, the movie succeeds in showing walking sequences, dog depression, and, in the end, doggie joy.

The Human Element

Such effectiveness cannot be applied for the interpersonal drama. The film's approach wavers between serious study, wacky comedy, predictable love story, and outright slapstick, not quite landing a single genre. This is not the actor playing Russ, who is willing to embrace the silliness and cringe inherent in the dog resort scenario. His performance contains a charming humility that offers much of the film's charm for this seemingly ideal couple. Anna's portrayer, as is her trademark, brings a distinctive offbeat energy that will either resonate with viewers. Her portrayal can feel a little too aloof, especially when paired with Cox's genuine sadness. (For what it's worth, Merv himself manages looking despondent – while no Messi from that acclaimed drama, he's definitely a scene-stealer.)

Merv tries to provide depth to Anna and Russ's relationship for sequences focusing solely on them – which is unfortunate, given that the dog is undoubtedly the best part of this feel-good picture. Unsurprisingly, it meets the bare minimum. The cause for their separation could have been more grounded and mature with greater exploration and fewer direct statements. As it stands, Merv is gentle and pleasant, meeting every expected note. Making a film with this canine conflict has potential – even if it's not exactly a great one either.

• Merv premieres on Amazon Prime Video this December.