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This is an often-repeated piece of advice in certain circles that co-parenting a dog following a split is ill-advised. The consensus suggests such arrangements prevent ex-partners from moving forward, cause practical headaches, lead to tension, and prove frustrating across the board. As it turns out, as a development fit for a direct-to-platform film, it reportedly leads to our furry friends to feel down.

Not to downplay the emotional well-being of dogs – countless people speak of their remarkable empathy. For a prime example in canine melancholy, consider a past film. It seems certain that a dog of Merv's nature, a scruffy terrier type played by Gus the Dog, would find it difficult coping with life in two homes. Whether this premise a feature-length romcom around this situation is sustainable is rather doubtful.

A Familiar Formula

Fairness demands noting, Merv, written by its screenwriters and directed by playwright Jessica Swale, never aspires to be deeper than a light film. We have here a holiday release from a corporate studio – the ambitions remains surface-level. The plot unfolds as uncomplicated: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing that their own sadness is matched by their dog's, decide on a uplifting getaway to a dog-friendly resort. There, inevitably, they will undoubtedly stumble toward the idea that they belong with each other. Side characters – featuring familiar faces – are crafted as the usual assortment of types. Visually carries the feel of a platform's in-house production, with a Christmas setting that is clearly manufactured – exemplified by fake snow piled on verdant foliage as a summer location doubles as a wintery Boston.

The Dog's Domain

If these predictable parts coalesce into something enjoyable rests upon the actors' work and one's taste for cinematic comfort food. For the comfort factor, Merv hones in on a demographic – those people who scroll endlessly for dog videos. The film delivers a wealth of adorable dog montages. The central draw is the dog, and while this leads to some awkward editing between animal action and the actors' responses, the movie succeeds in showing walking sequences, canine sorrow, and, finally, a tail-wagging resolution.

The Human Element

Such effectiveness does not extend for the human side of the story. Its style shifts uneasily between emotional depth, zany antics, formulaic romance, and outright slapstick, failing to master any one mode. No blame falls on Charlie Cox, who is admirably committed the silliness and cringe inherent in the dog resort scenario. His performance contains a likable self-deprecation that provides much of the film's charm for this ostensibly perfect couple. Anna's portrayer, as is her trademark, brings a certain millennial quirkiness that will click for some but not others. Her portrayal can feel a little too aloof, notably when contrasted against Cox's heartfelt sincerity. (It should be noted, Gus the Dog manages acting depressed – he may not be Messi from that acclaimed drama, he is still an excellent dog.)

The story strives to provide depth to the central romance for scenes without their pet – which is unfortunate, given that Merv is undoubtedly the most adorable aspect of this film designed for charm. Unsurprisingly, it meets the bare minimum. The reason for their original breakup would feel more nuanced with less exposition and less blunt explanation. In the end, Merv is slight and sweet, meeting all its marks. Making a film with this canine conflict isn't a bad idea – but it's hardly a stroke of genius.

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