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It is an often-repeated piece of advice for numerous people that jointly caring for a pet post-separation is a terrible idea. The consensus suggests such setups prevent individuals from finding closure, lead to scheduling chaos, lead to tension, and are a nuisance for all parties. Apparently, as a development fit for a direct-to-platform film, it also makes our furry friends to experience sadness.

While respecting the mental health of our pets – pet parents attest to their deep emotional capacity. To witness a standout portrayal in dog sorrow, simply recall recent cinema. I firmly believe that a dog of Merv's nature, a scruffy terrier type played by the canine actor Gus, would find it difficult adjusting to life in two homes. The idea of basing a feature-length romcom on this conflict works effectively is rather doubtful.

Predictable Foundations

Honestly, Merv, written by its screenwriters and helmed by director Swale, makes no grand claims more profound than what it is. We have here a holiday release from a streaming platform giant – the complexity remains surface-level. The narrative unfolds as straightforward: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their individual funk is surpassed by their dog's, embark on a therapeutic trip to a luxury pet hotel. Once there, as expected, they will surely rediscover the idea that they belong with each other. Ensemble players – played by a group of comedic actors – are crafted as quirky, thinly written, or broadly comic. Its aesthetic is reminiscent of a branded content, with a Christmas setting that is obviously artificial – think obvious snow effects surrounding green trees as a warm climate substitutes for a wintery Boston.

The Dog's Domain

How these familiar elements coalesce into something enjoyable rests upon the strength of the performances and the viewer's appetite for easy entertainment. Regarding the second aspect, Merv targets a specific viewer – those people who scroll endlessly for dog videos. The film delivers a plethora of canine-centric sequences. The primary selling point is Merv himself, and even if it causes some clunky cuts between what the dog does and people's faces, the movie succeeds in showing dog beach fun, dog depression, and, finally, a tail-wagging resolution.

Where It Wobbles

The same praise does not extend for the interpersonal drama. Its style wavers between emotional depth, zany antics, predictable love story, and outright slapstick, not quite landing a consistent feel. The fault lies not with Cox's performance, who is admirably committed the silliness and cringe inherent in the unusual premise. He brings a endearing lack of ego that provides a significant portion of the appeal for this on-the-rocks couple. Her co-star Deschanel, as is her trademark, brings a particular brand of eccentricity that will click for some but not others. The character seems a touch too detached, particularly when alongside Cox's genuine sadness. (It should be noted, Gus the Dog manages looking despondent – he may not be the award-winner from Anatomy of a Fall, he remains a scene-stealer.)

Merv tries to provide depth to the central romance for moments when the dog is absent – a regrettable choice, considering the dog is undoubtedly the best part of this film designed for charm. Unsurprisingly, it achieves only baseline competence. The reason for their original breakup would feel more adult and realistic with more screen time and fewer direct statements. As it stands, Merv is slight and sweet, hitting every expected note. Making a film with this canine conflict is not terrible – though I wouldn't call it a great one either.

• Merv streams on the Amazon platform this December.