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This is a common warning in certain circles that sharing custody a pet post-separation is a terrible idea. The consensus suggests such setups impede former couples from moving forward, create logistical nightmares, spark arguments, and become annoying for everyone involved. Seemingly, as a development worthy of a streaming movie, it also makes our furry friends to feel down.

While respecting the mental health of animals – countless people observe their remarkable empathy. If you need standout portrayal in canine melancholy, simply recall a past film. It seems certain that a dog like Merv, a scruffy terrier type brought to life by the canine actor Gus, would find it difficult adjusting to split households. Whether this premise a full holiday film on this conflict holds water seems debatable at best.

A Familiar Formula

To its credit, Merv, written by the writing duo and helmed by director Swale, makes no grand claims more profound than a light film. This is a seasonal offering from a streaming platform giant – the ambitions remains surface-level. The narrative unfolds as straightforward: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is surpassed by their dog's, decide on a cheer-up vacation to a canine-centric retreat. There, inevitably, they will surely stumble toward the idea that they are better together. The supporting cast – featuring Chris Redd, Jasmine Mathews, and others – serve as eccentric, underutilized, or over-the-top. The film's look carries the feel of a streaming service original, with a Christmas setting that is visibly contrived – as seen in flurries piled on verdant foliage as a warm climate doubles as a wintery Boston.

The Dog's Domain

Whether these standard ingredients come together into an entertaining watch hinges on the strength of the performances and one's taste for cinematic comfort food. Regarding the second aspect, Merv targets a specific viewer – individuals who scroll endlessly for pet content. The film delivers a wealth of canine-centric sequences. The primary selling point is Merv himself, and even if it causes some clunky cuts between what the dog does and human reaction, the movie does offer canine party antics, dog depression, and, finally, a tail-wagging resolution.

Where It Wobbles

Such effectiveness does not extend for the romantic plot. Its style shifts uneasily between emotional depth, broad humor, formulaic romance, and silly gags, failing to master a consistent feel. No blame falls on Charlie Cox, who is willing to embrace the absurd and awkward demanded of the dog resort scenario. He brings a likable self-deprecation that offers the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, in her typical fashion, brings a particular brand of eccentricity that will click for some but not others. The character comes across as a touch too detached, particularly when alongside Cox's vulnerable performance. (It should be noted, the canine performer succeeds in looking despondent – he may not be a canine thespian of that caliber, he's definitely a scene-stealer.)

Merv tries to provide depth to the central romance for scenes without their pet – which is unfortunate, considering the title character is easily the most adorable aspect of this feel-good picture. Expectedly, it achieves only baseline competence. The reason for the split might seem more nuanced with greater exploration and fewer direct statements. Ultimately, Merv is gentle and pleasant, hitting every expected note. Making a film with this canine conflict has potential – but it's not exactly a brilliant concept.

• Merv premieres on the Amazon platform this December.