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It is an often-repeated piece of advice in certain circles that sharing custody a canine companion after a breakup is ill-advised. Experts frequently claim such setups impede individuals from moving forward, cause practical headaches, spark arguments, and prove frustrating for all parties. As it turns out, as a development fit for a direct-to-platform film, it reportedly leads to the dogs themselves to become depressed.

Not to downplay the emotional well-being of our pets – countless people observe their deep emotional capacity. If you need standout portrayal in canine melancholy, simply recall another performance. It seems certain that a dog such as Merv, a scruffy terrier type brought to life by Gus the Dog, would struggle adapting to divided living arrangements. The idea of basing a full holiday film on such a setup works effectively remains rather doubtful.

A Familiar Formula

Honestly, Merv, the work of Dane Clark and Linsey Stewart and helmed by Jessica Swale, doesn't pretend to be deeper than what it is. We have here a Christmas movie from a corporate studio – the ambitions remains surface-level. The narrative proves to be simple and direct: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their post-breakup gloom is surpassed by their dog's, decide on a therapeutic trip to a luxury pet hotel. Once there, as expected, they will undoubtedly rediscover the idea that they are better together. The supporting cast – featuring a group of comedic actors – serve as the usual assortment of types. Its aesthetic is reminiscent of a platform's in-house production, with a holiday backdrop that is obviously artificial – as seen in fake snow clinging to lush pines as a summer location substitutes for a cold December city.

The Dog's Domain

Whether these standard ingredients merge into a pleasant experience depends on the actors' work and an acceptance of cinematic comfort food. For the comfort factor, Merv knows its audience – the kind who browse regularly for cute animal clips. It provides a series of canine-centric sequences. The primary selling point is the canine star, and while this leads to some clunky cuts between what the dog does and people's faces, the movie does offer dog beach fun, dog depression, and, in the end, doggie joy.

The Human Element

The same praise cannot be applied for the interpersonal drama. Its style shifts uneasily between relationship drama, broad humor, formulaic romance, and outright slapstick, never fully committing to a single genre. This is not Charlie Cox, who is admirably committed the humiliating and funny demanded of the unusual premise. His performance contains a endearing lack of ego that provides much of the film's charm for this ostensibly perfect couple. Zooey Deschanel, as is her trademark, injects a certain millennial quirkiness that will be to your taste or not. Her Anna comes across as a touch too detached, particularly when alongside Cox's vulnerable performance. (On another note, the canine performer succeeds in acting depressed – while no the award-winner from Anatomy of a Fall, he is still a scene-stealer.)

The film attempts to give weight to the central romance for sequences focusing solely on them – which is unfortunate, considering the dog is undoubtedly the most adorable aspect of this feel-good picture. Unsurprisingly, it meets the bare minimum. The cause for their separation might seem more adult and realistic with less exposition and fewer direct statements. Ultimately, Merv is gentle and pleasant, hitting every expected note. Making a film with this canine conflict isn't a bad idea – even if I wouldn't call it a brilliant concept.

• Merv becomes available on the Amazon platform this December.