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This is an often-repeated piece of advice among many that jointly caring for a canine companion post-separation is a recipe for trouble. Most will argue such setups prevent individuals from finding closure, create logistical nightmares, fuel disputes, and are a nuisance across the board. As it turns out, and in a twist suited to a direct-to-platform film, it can even cause our furry friends to experience sadness.

Without minimizing the mental health of our pets – countless people speak of their profound sensitivity. For a prime example in pet despair, simply recall a past film. There is little doubt that a dog such as Merv, a scruffy terrier type portrayed by a talented dog named Gus, would find it difficult adapting to divided living arrangements. The idea of basing a feature-length romcom on this conflict is sustainable seems rather doubtful.

A Familiar Formula

Honestly, Merv, crafted by the writing duo and under the guidance of Jessica Swale, doesn't pretend to be deeper than a light film. It functions as a Christmas movie from a corporate studio – the complexity remains surface-level. The narrative unfolds as simple and direct: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their individual funk is rivaled only by their dog's, decide on a therapeutic trip to a luxury pet hotel. At this location, predictably, they will surely rediscover the idea that they are better together. Ensemble players – featuring familiar faces – serve as the usual assortment of types. Visually carries the feel of a platform's in-house production, with a holiday backdrop that is obviously artificial – as seen in obvious snow effects surrounding verdant foliage as a warm climate substitutes for a cold December city.

The Dog's Domain

If these predictable parts merge into a pleasant experience hinges on the actors' work and the viewer's appetite for cinematic comfort food. Regarding the second aspect, Merv hones in on a demographic – those people who seek out for pet content. The film delivers a wealth of canine-centric sequences. The central draw is the dog, and even if it causes some stilted moments between the pet's "lines" and human reaction, the movie delivers on canine party antics, pet moping, and, in the end, doggie joy.

Where It Wobbles

Such effectiveness is not earned for the interpersonal drama. The tone vacillates between serious study, zany antics, predictable love story, and physical comedy, never fully committing to a consistent feel. This is not Charlie Cox, who is fully game the silliness and cringe demanded of the unusual premise. He brings a endearing lack of ego that provides a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, true to her usual style, injects a particular brand of eccentricity that will either resonate with viewers. The character can feel a bit too dry, especially when paired with Cox's vulnerable performance. (On another note, the canine performer succeeds in flopping and whining – he may not be a canine thespian of that caliber, he's definitely a very good boy.)

Merv tries to provide depth to the central romance for scenes without their pet – which is unfortunate, considering the title character is undoubtedly the cutest element of this cute-aiming movie. Expectedly, it just about gets by. The catalyst for their original breakup could have been more nuanced with more screen time and fewer direct statements. In the end, Merv is light and sugary, fulfilling precisely what you anticipate. Making a film on this shared-custody premise is not terrible – but it's not exactly a great one either.

• Merv premieres on Prime Video this December.