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This is an often-repeated piece of advice in certain circles that co-parenting a canine companion following a split is a recipe for trouble. The consensus suggests such setups impede individuals from healing, create logistical nightmares, fuel disputes, and are a nuisance for all parties. As it turns out, in a revelation fit for a direct-to-platform film, it reportedly leads to the canine in question to become depressed.

Without minimizing the emotional well-being of animals – countless people speak of their remarkable empathy. To witness a prime example in pet despair, consider another performance. I firmly believe that a dog of Merv's nature, a scruffy terrier type brought to life by Gus the Dog, would struggle coping with split households. Whether this premise a full holiday film on such a setup works effectively remains a questionable prospect.

Standard Holiday Fare

Fairness demands noting, Merv, written by its screenwriters and under the guidance of playwright Jessica Swale, never aspires to be deeper than its premise. It functions as a holiday release from a streaming platform giant – the complexity remains surface-level. The narrative unfolds as straightforward: exes Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their individual funk is surpassed by their dog's, decide on a cheer-up vacation to a luxury pet hotel. At this location, predictably, they will presumably realize the idea that they are better together. The supporting cast – featuring familiar faces – are crafted as quirky, thinly written, or broadly comic. Visually is reminiscent of a platform's in-house production, with a holiday backdrop that is obviously artificial – exemplified by obvious snow effects clinging to green trees as a warm climate stands in for a cold December city.

The Dog's Domain

If these familiar elements merge into an entertaining watch rests upon the strength of the performances and the viewer's appetite for cinematic comfort food. Regarding the second aspect, Merv knows its audience – those people who scroll endlessly for cute animal clips. Audiences receive a wealth of scenes focused on the pet. The central draw is Merv himself, and though it results in some stilted moments between animal action and people's faces, the movie does offer walking sequences, canine sorrow, and, ultimately, pure puppy happiness.

The Human Element

This level of success cannot be applied for the interpersonal drama. Its style wavers between emotional depth, broad humor, standard rom-com beats, and outright slapstick, never fully committing to a consistent feel. This is not Cox's performance, who is fully game the humiliating and funny demanded of the unusual premise. He brings a likable self-deprecation that supplies the bulk of the chemistry for this on-the-rocks couple. Zooey Deschanel, as is her trademark, brings a certain millennial quirkiness that will either resonate with viewers. Her Anna seems a bit too dry, notably when paired with Cox's genuine sadness. (It should be noted, the canine performer is convincing at acting depressed – while no a canine thespian of that caliber, he remains an excellent dog.)

Merv tries to add substance to the couple's history for scenes without their pet – which is unfortunate, considering the dog is undoubtedly the best part of this cute-aiming movie. As one might predict, it just about gets by. The cause for their original breakup could have been more grounded and mature with less exposition and more subtle storytelling. As it stands, Merv is light and sugary, meeting all its marks. Creating a movie on this shared-custody premise is not terrible – though I wouldn't call it a stroke of genius.

• Merv streams on the Amazon platform this December.