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It is an often-repeated piece of advice for numerous people that jointly caring for a canine companion following a split is a terrible idea. The consensus suggests such situations impede individuals from finding closure, lead to scheduling chaos, fuel disputes, and become annoying for all parties. Seemingly, and in a twist suited to a direct-to-platform film, it can even cause the dogs themselves to feel down.

While respecting the mental health of animals – countless people observe their deep emotional capacity. To witness a masterclass in canine melancholy, simply recall another performance. There is little doubt that a dog such as Merv, a wired-hair terrier mix brought to life by a talented dog named Gus, would have a hard time coping with life in two homes. Whether this premise an entire Christmas romance around this situation is sustainable is debatable at best.

A Familiar Formula

Honestly, Merv, written by the writing duo and helmed by playwright Jessica Swale, never aspires to be anything more than what it is. This is a holiday release from a major tech-and-media conglomerate – the depth are modest. The narrative is destined to be straightforward: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their post-breakup gloom is surpassed by their dog's, decide on a uplifting getaway to a canine-centric retreat. There, inevitably, they will presumably stumble toward the idea that they are better together. Ensemble players – played by a group of comedic actors – serve as quirky, thinly written, or broadly comic. Its aesthetic is reminiscent of a branded content, with a holiday backdrop that is visibly contrived – as seen in fake snow surrounding green trees as a warm climate doubles as a cold December city.

The Dog's Domain

If these predictable parts coalesce into an entertaining watch hinges on the strength of the performances and the viewer's appetite for cinematic comfort food. Regarding the second aspect, Merv hones in on a demographic – those people who scroll endlessly for pet content. The film delivers a wealth of scenes focused on the pet. The central draw is the dog, and even if it causes some awkward editing between what the dog does and human reaction, the movie succeeds in showing walking sequences, pet moping, and, finally, doggie joy.

Where It Wobbles

Such effectiveness cannot be applied for the human side of the story. Its style shifts uneasily between emotional depth, wacky comedy, standard rom-com beats, and outright slapstick, not quite landing a single genre. No blame falls on Cox's performance, who is willing to embrace the humiliating and funny required by the unusual premise. Cox exhibits a likable self-deprecation that provides the bulk of the chemistry for this seemingly ideal couple. Her co-star Deschanel, true to her usual style, brings a distinctive offbeat energy that will either resonate with viewers. Her portrayal can feel a little too aloof, particularly when paired with Cox's vulnerable performance. (It should be noted, Gus the Dog is convincing at looking despondent – not quite Messi from that acclaimed drama, he is still a scene-stealer.)

The story strives to give weight to Anna and Russ's relationship for sequences focusing solely on them – a regrettable choice, given that the dog is by far the best part of this film designed for charm. Expectedly, it just about gets by. The reason for their original breakup could have been more adult and realistic with less exposition and less blunt explanation. Ultimately, Merv is slight and sweet, fulfilling every expected note. Creating a movie about dog co-parenting has potential – though I wouldn't call it a great one either.

• Merv becomes available on the Amazon platform this December.