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It is a common warning for numerous people that co-parenting a dog post-separation is ill-advised. Most will argue such arrangements hinder ex-partners from finding closure, create logistical nightmares, fuel disputes, and become annoying for all parties. Seemingly, in a revelation fit for a streaming movie, it reportedly leads to the dogs themselves to feel down.

Without minimizing the mental health of dogs – countless people observe their deep emotional capacity. To witness a standout portrayal in canine melancholy, consider recent cinema. It seems certain that a dog such as Merv, a scruffy terrier type played by the canine actor Gus, would struggle adjusting to life in two homes. The idea of basing a full holiday film on this conflict is sustainable is rather doubtful.

Predictable Foundations

Fairness demands noting, Merv, written by Dane Clark and Linsey Stewart and helmed by director Swale, doesn't pretend to be deeper than a light film. This is a seasonal offering from a major tech-and-media conglomerate – the complexity remains surface-level. Its storyline proves to be uncomplicated: exes Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their own sadness is matched by their dog's, embark on a cheer-up vacation to a canine-centric retreat. There, inevitably, they will undoubtedly realize the idea that they should reunite. Side characters – including Chris Redd, Jasmine Mathews, and others – 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 visibly contrived – exemplified by flurries piled on green trees as a summer location doubles as a wintery Boston.

Where the Film Shines

How these familiar elements 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 knows its audience – those people who browse regularly for pet content. It provides a wealth of scenes focused on the pet. The main attraction is the canine star, and even if it causes some awkward editing between animal action and human reaction, the movie delivers on walking sequences, canine sorrow, and, finally, a tail-wagging resolution.

The Human Element

This level of success cannot be applied for the romantic plot. The tone shifts uneasily between relationship drama, wacky comedy, predictable love story, and silly gags, failing to master a single genre. No blame falls on Cox's performance, who is admirably committed the absurd and awkward inherent in the dog resort scenario. Cox exhibits a charming humility that provides the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, as is her trademark, injects a distinctive offbeat energy that will click for some but not others. Her portrayal seems a little too aloof, particularly when paired with Cox's genuine sadness. (On another note, Gus the Dog manages flopping and whining – while no the award-winner from Anatomy of a Fall, he's definitely a scene-stealer.)

The film attempts to provide depth to the couple's history for scenes without their pet – a bit of a pity, considering Merv is by far the most adorable aspect of this film designed for charm. As one might predict, it meets the bare minimum. The reason for their original breakup would feel more nuanced with more screen time and fewer direct statements. In the end, Merv is slight and sweet, fulfilling precisely what you anticipate. Making a film about dog co-parenting is not terrible – though it's hardly a brilliant concept.

• Merv streams on the Amazon platform this December.