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It is a common warning among many that co-parenting a pet post-separation is ill-advised. Experts frequently claim such setups hinder former couples from healing, lead to scheduling chaos, fuel disputes, and are a nuisance across the board. Seemingly, and in a twist fit for a direct-to-platform film, it can even cause the canine in question to experience sadness.

Without minimizing the mental health of animals – pet parents observe their deep emotional capacity. If you need prime example in pet despair, one need only look a past film. It seems certain that a dog like Merv, a spirited little dog brought to life by the canine actor Gus, would struggle adapting to life in two homes. If this concept a feature-length romcom on such a setup holds water seems debatable at best.

Predictable Foundations

Fairness demands noting, Merv, the work of its screenwriters and directed by director Swale, never aspires to be anything more than a light film. This is a holiday release from a major tech-and-media conglomerate – the complexity remains surface-level. The narrative proves to be uncomplicated: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is rivaled only 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 should reunite. The supporting cast – played by Chris Redd, Jasmine Mathews, and others – are crafted as the usual assortment of types. Visually has the quality of a streaming service original, with a wintry atmosphere that is obviously artificial – think obvious snow effects piled on lush pines as North Carolina doubles as a cold December city.

Where the Film Shines

Whether these standard ingredients come together into something enjoyable hinges on the actors' work and an acceptance of comfort viewing. For the comfort factor, Merv targets a specific viewer – the kind who browse regularly for pet content. Audiences receive a wealth of scenes focused on the pet. The primary selling point is Merv himself, and even if it causes some awkward editing between animal action and human reaction, the movie succeeds in showing canine party antics, canine sorrow, and, ultimately, pure puppy happiness.

Where It Wobbles

This level of success does not extend for the romantic plot. Its style vacillates between emotional depth, wacky comedy, predictable love story, and outright slapstick, never fully committing to any one mode. The fault lies not with Cox's performance, who is willing to embrace the absurd and awkward required by the unusual premise. His performance contains a likable self-deprecation that offers much of the film's charm for this on-the-rocks couple. Anna's portrayer, in her typical fashion, brings a distinctive offbeat energy that will click for some but not others. Her Anna can feel a little too aloof, especially when alongside Cox's genuine sadness. (It should be noted, Merv himself is convincing at acting depressed – while no a canine thespian of that caliber, he remains an excellent dog.)

The film attempts to give weight to the couple's history for moments when the dog is absent – a regrettable choice, given that the title character is by far the best part of this film designed for charm. Unsurprisingly, it achieves only baseline competence. The cause for their separation could have been more nuanced with more screen time and more subtle storytelling. Ultimately, Merv is gentle and pleasant, hitting every expected note. Creating a movie with this canine conflict isn't a bad idea – but it's hardly a great one either.

• Merv premieres on Amazon Prime Video on December 10th.