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This is a common warning in certain circles that co-parenting a dog post-separation is ill-advised. The consensus suggests such situations hinder individuals from finding closure, cause practical headaches, fuel disputes, and become annoying for everyone involved. As it turns out, in a revelation fit for a direct-to-platform film, it reportedly leads to the dogs themselves to experience sadness.

Without minimizing the mental health of our pets – many owners attest to their deep emotional capacity. To witness a masterclass in pet despair, one need only look a past film. There is little doubt that a dog such as Merv, a wired-hair terrier mix brought to life by a talented dog named Gus, would struggle coping with divided living arrangements. Whether this premise a feature-length romcom on such a setup is sustainable is rather doubtful.

Standard Holiday Fare

To its credit, Merv, crafted by its screenwriters and under the guidance of playwright Jessica Swale, never aspires to be deeper than its premise. We have here a seasonal offering from a major tech-and-media conglomerate – the depth is limited. The plot proves to be simple and direct: exes Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their own sadness is rivaled only by their dog's, decide on a uplifting getaway to a canine-centric retreat. At this location, predictably, they will surely realize the idea that they belong with each other. Ensemble players – including Chris Redd, Jasmine Mathews, and others – fulfill roles the usual assortment of types. The film's look carries the feel of a branded content, with a Christmas setting that is obviously artificial – think obvious snow effects surrounding lush pines as North Carolina substitutes for a cold December city.

Where the Film Shines

Whether these familiar elements come together into a pleasant experience hinges on the actors' work and an acceptance of easy entertainment. On the latter point, Merv knows its audience – the kind who seek out for dog videos. The film delivers a series of canine-centric sequences. The main attraction is the canine star, and even if it causes some awkward editing between what the dog does and human reaction, the movie delivers on canine party antics, pet moping, and, in the end, a tail-wagging resolution.

The Two-Legged Cast

The same praise does not extend for the interpersonal drama. The film's approach vacillates between serious study, zany antics, formulaic romance, and physical comedy, failing to master a single genre. The fault lies not with Cox's performance, who is willing to embrace the absurd and awkward demanded of the unusual premise. His performance contains a charming humility that provides a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, in her typical fashion, brings a certain millennial quirkiness that will either resonate with viewers. Her Anna can feel a touch too detached, notably when alongside Cox's vulnerable performance. (For what it's worth, the canine performer is convincing at acting depressed – while no a canine thespian of that caliber, he's definitely a scene-stealer.)

Merv tries to give weight to the central romance for moments when the dog is absent – which is unfortunate, given that the dog is easily the cutest element of this feel-good picture. Unsurprisingly, it achieves only baseline competence. The cause for their original breakup would feel more grounded and mature with less exposition and less blunt explanation. In the end, Merv is light and sugary, meeting all its marks. Making a film with this canine conflict has potential – but I wouldn't call it a brilliant concept.

• Merv premieres on Prime Video starting December 10.