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This is an often-repeated piece of advice for numerous people that sharing custody a dog following a split is a terrible idea. Most will argue such arrangements prevent individuals from finding closure, lead to scheduling chaos, spark arguments, and are a nuisance for all parties. Apparently, in a revelation suited to a direct-to-platform film, it can even cause the canine in question to become depressed.

While respecting the emotional well-being of dogs – pet parents attest to their profound sensitivity. If you need prime example in dog sorrow, consider recent cinema. I firmly believe that a dog such as Merv, a wired-hair terrier mix brought to life by Gus the Dog, would have a hard time adjusting to life in two homes. Whether this premise a feature-length romcom on such a setup is sustainable is debatable at best.

Standard Holiday Fare

To its credit, Merv, the work of Dane Clark and Linsey Stewart and directed by director Swale, never aspires to be deeper than what it is. This is a Christmas movie from a major tech-and-media conglomerate – the depth is limited. Its storyline is destined to be uncomplicated: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), realizing that their post-breakup gloom is surpassed by their dog's, decide on a therapeutic trip to a canine-centric retreat. At this location, predictably, they will undoubtedly stumble toward the idea that they should reunite. Ensemble players – including a group of comedic actors – fulfill roles quirky, thinly written, or broadly comic. Visually is reminiscent of a streaming service original, with a Christmas setting that is visibly contrived – exemplified by obvious snow effects clinging to lush pines as a warm climate stands in for a wintery Boston.

Where the Film Shines

How these standard ingredients come together into a pleasant experience rests upon the execution and an acceptance of cinematic comfort food. For the comfort factor, Merv targets a specific viewer – those people who scroll endlessly for cute animal clips. Audiences receive a plethora of adorable dog montages. The primary selling point is Merv himself, and though it results in some awkward editing between the pet's "lines" and people's faces, the movie delivers on walking sequences, dog depression, and, in the end, a tail-wagging resolution.

Where It Wobbles

Such effectiveness does not extend for the human side of the story. Its style shifts uneasily between relationship drama, broad humor, predictable love story, and outright slapstick, failing to master a single genre. This is not the actor playing Russ, who is fully game the absurd and awkward demanded of the bizarre setting. Cox exhibits a likable self-deprecation that provides a significant portion of the appeal for this seemingly ideal couple. Anna's portrayer, in her typical fashion, brings a particular brand of eccentricity that will either resonate with viewers. Her portrayal can feel a touch too detached, notably when alongside Cox's genuine sadness. (For what it's worth, Merv himself is convincing at flopping and whining – not quite the award-winner from Anatomy of a Fall, he remains a very good boy.)

Merv tries to add substance to the couple's history for moments when the dog is absent – a bit of a pity, given that the title character is by far the cutest element of this feel-good picture. Expectedly, it just about gets by. The cause for their separation would feel more nuanced with greater exploration and more subtle storytelling. Ultimately, Merv is slight and sweet, meeting every expected note. Crafting a story with this canine conflict has potential – even if it's hardly a stroke of genius.

• Merv becomes available on the Amazon platform starting December 10.