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This is an often-repeated piece of advice among many that co-parenting a canine companion after a breakup is a terrible idea. The consensus suggests such arrangements impede former couples from finding closure, cause practical headaches, lead to tension, and are a nuisance across the board. Seemingly, and in a twist fit for a direct-to-platform film, it also makes our furry friends to become depressed.

Without minimizing the mental health of animals – pet parents attest to their remarkable empathy. To witness a masterclass in pet despair, consider another performance. It seems certain that a dog such as Merv, a scruffy terrier type portrayed by the canine actor Gus, would have a hard time coping with divided living arrangements. The idea of basing a full holiday film on this conflict works effectively is rather doubtful.

Predictable Foundations

Honestly, Merv, the work of Dane Clark and Linsey Stewart and under the guidance of Jessica Swale, doesn't pretend to be deeper than what it is. It functions as a Christmas movie from a corporate studio – the complexity are modest. The narrative is destined to be simple and direct: exes Russ, played by Charlie Cox and Anna (Zooey Deschanel), realizing that their own sadness is rivaled only by their dog's, embark on a therapeutic trip to a dog-friendly resort. At this location, predictably, they will presumably realize the idea that they are better together. Side characters – including Chris Redd, Jasmine Mathews, and others – fulfill roles the usual assortment of types. The film's look has the quality of a platform's in-house production, with a holiday backdrop that is visibly contrived – exemplified by flurries clinging to lush pines as a warm climate doubles as a cold December city.

The Dog's Domain

Whether these standard ingredients come together into an entertaining watch hinges on the actors' work and one's taste for comfort viewing. Regarding the second aspect, Merv knows its audience – individuals who seek out for cute animal clips. Audiences receive a wealth of scenes focused on the pet. The primary selling point is the canine star, and while this leads to some stilted moments between animal action and the actors' responses, the movie succeeds in showing walking sequences, dog depression, and, ultimately, a tail-wagging resolution.

Where It Wobbles

Such effectiveness does not extend for the interpersonal drama. Its style shifts uneasily between relationship drama, broad humor, standard rom-com beats, and physical comedy, not quite landing a single genre. No blame falls on Cox's performance, who is willing to embrace the silliness and cringe inherent in the bizarre setting. He brings a likable self-deprecation that provides the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, injects a certain millennial quirkiness that will be to your taste or not. Her portrayal seems a little too aloof, notably when paired with Cox's genuine sadness. (It should be noted, Gus the Dog manages flopping and whining – while no Messi from that acclaimed drama, he remains an excellent dog.)

Merv tries to provide depth to the couple's history for scenes without their pet – a bit of a pity, given that the dog is by far the best part of this film designed for charm. Unsurprisingly, it meets the bare minimum. The catalyst for their separation might seem more grounded and mature with less exposition and less blunt explanation. In the end, Merv is gentle and pleasant, fulfilling precisely what you anticipate. Making a film on this shared-custody premise isn't a bad idea – but it's not exactly a great one either.

• Merv becomes available on Amazon Prime Video starting December 10.