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It is a common warning for numerous people that co-parenting a dog post-separation is a terrible idea. Most will argue such setups hinder ex-partners from moving forward, create logistical nightmares, fuel disputes, and are a nuisance for all parties. Seemingly, and in a twist suited to a direct-to-platform film, it can even cause the canine in question to experience sadness.

Not to downplay the inner life of dogs – countless people speak of their remarkable empathy. To witness a prime example in dog sorrow, consider another performance. There is little doubt that a dog such as Merv, a spirited little dog portrayed by Gus the Dog, would struggle adapting to split households. Whether this premise an entire Christmas romance around this situation is sustainable seems a questionable prospect.

Standard Holiday Fare

To its credit, Merv, written by its screenwriters and helmed by director Swale, makes no grand claims more profound than a light film. We have here a holiday release from a major tech-and-media conglomerate – the complexity are modest. The narrative proves to be uncomplicated: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, confronting that their post-breakup gloom is matched by their dog's, decide on a therapeutic trip to a luxury pet hotel. At this location, predictably, they will surely realize the idea that they belong with each other. Ensemble players – including familiar faces – serve as eccentric, underutilized, or over-the-top. Its aesthetic is reminiscent of a platform's in-house production, with a wintry atmosphere that is clearly manufactured – exemplified by flurries piled on green trees as a summer location substitutes for the Northeast.

The Canine Charisma

If these standard ingredients merge into a pleasant experience depends on the strength of the performances and the viewer's appetite for cinematic comfort food. For the comfort factor, Merv hones in on a demographic – individuals who seek out for dog videos. It provides a wealth of scenes focused on the pet. The central draw is Merv himself, and though it results in some stilted moments between what the dog does and the actors' responses, the movie succeeds in showing walking sequences, dog depression, and, ultimately, pure puppy happiness.

Where It Wobbles

Such effectiveness cannot be applied for the romantic plot. The film's approach wavers between relationship drama, wacky comedy, formulaic romance, and silly gags, failing to master a single genre. The fault lies not with the actor playing Russ, who is admirably committed the absurd and awkward inherent in the unusual premise. Cox exhibits a likable self-deprecation that provides much of the film's charm for this ostensibly perfect couple. Zooey Deschanel, as is her trademark, imparts a certain millennial quirkiness that will either resonate with viewers. Her Anna comes across as a bit too dry, notably when paired with Cox's vulnerable performance. (On another note, the canine performer manages flopping and whining – not quite the award-winner from Anatomy of a Fall, he remains a scene-stealer.)

The film attempts to give weight to Anna and Russ's relationship for sequences focusing solely on them – a regrettable choice, since the dog is by far the most adorable aspect of this cute-aiming movie. Unsurprisingly, it achieves only baseline competence. The cause for their original breakup could have been more nuanced with more screen time and fewer direct statements. In the end, Merv is gentle and pleasant, hitting every expected note. Creating a movie with this canine conflict isn't a bad idea – even if I wouldn't call it a great one either.

• Merv premieres on Prime Video this December.