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It is a common warning among many that sharing custody a canine companion following a split is a recipe for trouble. Most will argue such arrangements impede individuals from finding closure, cause practical headaches, fuel disputes, and prove frustrating across the board. Seemingly, and in a twist fit for a direct-to-platform film, it also makes the dogs themselves to become depressed.

Not to downplay the mental health of animals – many owners attest to their deep emotional capacity. For a prime example in dog sorrow, simply recall recent cinema. I firmly believe that a dog such as Merv, a scruffy terrier type played by a talented dog named Gus, would have a hard time coping with divided living arrangements. The idea of basing a full holiday film on this conflict is sustainable remains rather doubtful.

Predictable Foundations

To its credit, Merv, crafted by Dane Clark and Linsey Stewart and under the guidance of Jessica Swale, never aspires to be deeper than what it is. It functions as a Christmas movie from a major tech-and-media conglomerate – the ambitions is limited. Its storyline is destined to be uncomplicated: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing that their post-breakup gloom is matched by their dog's, decide on a cheer-up vacation to a canine-centric retreat. There, inevitably, they will presumably realize the idea that they should reunite. Ensemble players – including familiar faces – are crafted as the usual assortment of types. Its aesthetic carries the feel of a platform's in-house production, with a holiday backdrop that is visibly contrived – exemplified by flurries surrounding green trees as North Carolina substitutes for a wintery Boston.

Where the Film Shines

If these familiar elements coalesce into a pleasant experience depends on the execution and the viewer's appetite for cinematic comfort food. On the latter point, Merv targets a specific viewer – individuals who seek out for dog videos. Audiences receive a series of canine-centric sequences. The central draw is the dog, and even if it causes some clunky cuts between the pet's "lines" and human reaction, the movie delivers on canine party antics, pet moping, and, finally, doggie joy.

The Two-Legged Cast

This level of success does not extend for the romantic plot. The tone wavers between relationship drama, zany antics, standard rom-com beats, and outright slapstick, never fully committing to a consistent feel. No blame falls on Charlie Cox, who is willing to embrace the silliness and cringe required by the bizarre setting. He brings a likable self-deprecation that supplies much of the film's charm for this seemingly ideal couple. Anna's portrayer, as is her trademark, injects a certain millennial quirkiness that will click for some but not others. Her Anna comes across as a bit too dry, particularly when paired with Cox's genuine sadness. (For what it's worth, the canine performer succeeds in flopping and whining – not quite Messi from that acclaimed drama, he remains an excellent dog.)

Merv tries to add substance to the central romance for sequences focusing solely on them – a regrettable choice, given that the dog is easily the cutest element of this cute-aiming movie. Unsurprisingly, it just about gets by. The cause for their original breakup might seem more adult and realistic with less exposition and less blunt explanation. As it stands, Merv is gentle and pleasant, hitting every expected note. Crafting a story on this shared-custody premise isn't a bad idea – though it's hardly a brilliant concept.

• Merv streams on the Amazon platform this December.