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It is a widely held belief in certain circles that sharing custody a canine companion post-separation is a recipe for trouble. Most will argue such setups impede former couples from healing, create logistical nightmares, lead to tension, and become annoying for everyone involved. As it turns out, in a revelation worthy of a streaming movie, it can even cause the canine in question to experience sadness.

Not to downplay the emotional well-being of animals – pet parents attest to their profound sensitivity. For a masterclass in dog sorrow, consider recent cinema. It seems certain that a dog of Merv's nature, a scruffy terrier type portrayed by Gus the Dog, would struggle adjusting to split households. If this concept an entire Christmas romance on such a setup works effectively is rather doubtful.

Predictable Foundations

To its credit, Merv, crafted by its screenwriters and under the guidance of playwright Jessica Swale, never aspires to be more profound than a light film. This is a Christmas movie from a corporate studio – the complexity remains surface-level. The narrative is destined to be uncomplicated: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is rivaled only by their dog's, take a cheer-up vacation to a dog-friendly resort. Once there, as expected, they will presumably rediscover the idea that they belong with each other. Ensemble players – including a group of comedic actors – 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 clearly manufactured – exemplified by fake snow clinging to green trees as North Carolina doubles as a wintery Boston.

The Dog's Domain

If these familiar elements come together into something enjoyable depends on the execution and one's taste for easy entertainment. On the latter point, Merv hones in on a demographic – individuals who browse regularly for cute animal clips. The film delivers a series of canine-centric sequences. The central draw is the dog, and even if it causes some stilted moments between the pet's "lines" and human reaction, the movie succeeds in showing canine party antics, canine sorrow, and, in the end, doggie joy.

The Human Element

Such effectiveness is not earned for the romantic plot. Its style vacillates between serious study, broad humor, formulaic romance, and physical comedy, failing to master a consistent feel. This is not Charlie Cox, who is admirably committed the humiliating and funny inherent in the bizarre setting. He brings a charming humility that provides much of the film's charm for this ostensibly perfect couple. Anna's portrayer, as is her trademark, brings a distinctive offbeat energy that will click for some but not others. Her portrayal comes across as a bit too dry, particularly when alongside Cox's genuine sadness. (It should be noted, Merv himself succeeds in looking despondent – he may not be a canine thespian of that caliber, he's definitely a very good boy.)

The film attempts to provide depth to the central romance for moments when the dog is absent – a bit of a pity, since the dog is by far the most adorable aspect of this feel-good picture. As one might predict, it achieves only baseline competence. The cause for their original breakup would feel more nuanced with more screen time and less blunt explanation. Ultimately, Merv is slight and sweet, hitting precisely what you anticipate. Creating a movie about dog co-parenting isn't a bad idea – even if I wouldn't call it a stroke of genius.

• Merv premieres on Prime Video this December.