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This is a common warning for numerous people that co-parenting a dog post-separation is a terrible idea. Most will argue such setups prevent former couples from finding closure, lead to scheduling chaos, fuel disputes, and prove frustrating across the board. Seemingly, and in a twist fit for a direct-to-platform film, it reportedly leads to our furry friends to become depressed.

Without minimizing the mental health of our pets – pet parents attest to their deep emotional capacity. To witness a prime example in dog sorrow, consider recent cinema. There is little doubt that a dog such as Merv, a scruffy terrier type played by a talented dog named Gus, would find it difficult coping with split households. If this concept an entire Christmas romance on this conflict holds water is rather doubtful.

Standard Holiday Fare

Honestly, Merv, written by Dane Clark and Linsey Stewart and under the guidance of playwright Jessica Swale, never aspires to be deeper than a light film. This is a Christmas movie from a corporate studio – the ambitions is limited. Its storyline unfolds as straightforward: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing that their own sadness is surpassed by their dog's, decide on a therapeutic trip to a dog-friendly resort. There, inevitably, they will surely realize the idea that they are better together. Side characters – including a group of comedic actors – are crafted as quirky, thinly written, or broadly comic. The film's look is reminiscent of a platform's in-house production, with a Christmas setting that is obviously artificial – think obvious snow effects clinging to verdant foliage as North Carolina substitutes for the Northeast.

The Dog's Domain

How these predictable parts come together into a pleasant experience depends on the execution and the viewer's appetite for cinematic comfort food. For the comfort factor, Merv targets a specific viewer – individuals who scroll endlessly for cute animal clips. Audiences receive a wealth of canine-centric sequences. The central draw is the dog, and though it results in some clunky cuts between the pet's "lines" and human reaction, the movie delivers on dog beach fun, dog depression, and, in the end, a tail-wagging resolution.

The Human Element

This level of success cannot be applied for the human side of the story. The tone vacillates between relationship drama, zany antics, standard rom-com beats, and silly gags, failing to master a consistent feel. No blame falls on Cox's performance, who is willing to embrace the humiliating and funny inherent in the bizarre setting. His performance contains a endearing lack of ego that offers the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, true to her usual style, injects a certain millennial quirkiness that will click for some but not others. Her portrayal can feel a touch too detached, particularly when contrasted against Cox's heartfelt sincerity. (On another note, the canine performer succeeds in looking despondent – while no a canine thespian of that caliber, he's definitely a scene-stealer.)

The film attempts to add substance to the couple's history for sequences focusing solely on them – which is unfortunate, since the title character is undoubtedly the cutest element of this cute-aiming movie. Expectedly, it achieves only baseline competence. The reason for their separation might seem more nuanced with more screen time and more subtle storytelling. In the end, Merv is gentle and pleasant, fulfilling all its marks. Making a film with this canine conflict has potential – but it's hardly a stroke of genius.

• Merv premieres on Prime Video starting December 10.