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This is an often-repeated piece of advice in certain circles that sharing custody a dog after a breakup is a terrible idea. Experts frequently claim such arrangements prevent ex-partners from healing, cause practical headaches, fuel disputes, and prove frustrating for all parties. As it turns out, as a development worthy of a direct-to-platform film, it can even cause the dogs themselves to experience sadness.

Not to downplay the emotional well-being of dogs – pet parents attest to their deep emotional capacity. To witness a masterclass in canine melancholy, consider recent cinema. I firmly believe that a dog of Merv's nature, a spirited little dog portrayed by a talented dog named Gus, would have a hard time adjusting to divided living arrangements. Whether this premise a feature-length romcom on such a setup is sustainable seems rather doubtful.

A Familiar Formula

To its credit, Merv, written by the writing duo and directed by director Swale, makes no grand claims deeper than what it is. It functions as a Christmas movie from a major tech-and-media conglomerate – the ambitions are modest. The narrative unfolds as uncomplicated: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), realizing that their post-breakup gloom is rivaled only by their dog's, embark on a uplifting getaway to a luxury pet hotel. At this location, predictably, they will surely stumble toward the idea that they belong with each other. The supporting cast – featuring a group of comedic actors – fulfill roles quirky, thinly written, or broadly comic. Visually has the quality of a branded content, with a Christmas setting that is clearly manufactured – as seen in flurries clinging to green trees as a summer location substitutes for a cold December city.

Where the Film Shines

How these familiar elements merge into an entertaining watch depends on the actors' work and the viewer's appetite for cinematic comfort food. Regarding the second aspect, Merv hones in on a demographic – the kind who seek out for cute animal clips. The film delivers a series of canine-centric sequences. The central draw is the dog, and while this leads to some awkward editing between what the dog does and the actors' responses, the movie delivers on walking sequences, pet moping, and, finally, doggie joy.

Where It Wobbles

Such effectiveness cannot be applied for the human side of the story. The tone wavers between serious study, broad humor, standard rom-com beats, and silly gags, failing to master a single genre. The fault lies not with Charlie Cox, who is willing to embrace the humiliating and funny inherent in the unusual premise. Cox exhibits a endearing lack of ego that offers a significant portion of the appeal for this seemingly ideal couple. Her co-star Deschanel, in her typical fashion, brings a particular brand of eccentricity that will click for some but not others. Her Anna can feel a bit too dry, notably when alongside Cox's genuine sadness. (On another note, Gus the Dog succeeds in flopping and whining – he may not be Messi from that acclaimed drama, he's definitely a scene-stealer.)

The film attempts to give weight to the central romance for moments when the dog is absent – which is unfortunate, given that the dog is undoubtedly the most adorable aspect of this film designed for charm. As one might predict, it achieves only baseline competence. The catalyst for their original breakup might seem more adult and realistic with less exposition and less blunt explanation. Ultimately, Merv is gentle and pleasant, hitting precisely what you anticipate. Making a film with this canine conflict isn't a bad idea – even if it's hardly a great one either.

• Merv streams on Prime Video starting December 10.