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It is a widely held belief in certain circles that jointly caring for a dog following a split is a recipe for trouble. The consensus suggests such situations hinder individuals from finding closure, lead to scheduling chaos, lead to tension, and are a nuisance for all parties. As it turns out, as a development fit for a direct-to-platform film, it reportedly leads to our furry friends to experience sadness.

Not to downplay the emotional well-being of animals – pet parents observe their remarkable empathy. To witness a standout portrayal in canine melancholy, simply recall a past film. There is little doubt that a dog of Merv's nature, a wired-hair terrier mix portrayed by Gus the Dog, would have a hard time coping with split households. If this concept an entire Christmas romance on such a setup is sustainable remains debatable at best.

Standard Holiday Fare

Fairness demands noting, Merv, crafted by its screenwriters and helmed by director Swale, never aspires to be more profound than what it is. This is a seasonal offering from a corporate studio – the complexity are modest. Its storyline unfolds as straightforward: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, confronting that their post-breakup gloom is surpassed by their dog's, embark on a uplifting getaway to a luxury pet hotel. At this location, predictably, they will presumably rediscover the idea that they should reunite. Ensemble players – featuring Chris Redd, Jasmine Mathews, and others – fulfill roles eccentric, underutilized, or over-the-top. Its aesthetic has the quality of a streaming service original, with a wintry atmosphere that is visibly contrived – as seen in obvious snow effects clinging to verdant foliage as a summer location stands in for a wintery Boston.

The Dog's Domain

If these predictable parts merge into an entertaining watch rests upon the strength of the performances and one's taste for comfort viewing. On the latter point, Merv hones in on a demographic – those people who browse regularly for pet content. Audiences receive a wealth of scenes focused on the pet. The primary selling point is Merv himself, and even if it causes some clunky cuts between what the dog does and the actors' responses, the movie succeeds in showing dog beach fun, dog depression, and, in the end, doggie joy.

Where It Wobbles

The same praise does not extend for the human side of the story. Its style wavers between serious study, broad humor, formulaic romance, and outright slapstick, never fully committing to any one mode. No blame falls on the actor playing Russ, who is admirably committed the absurd and awkward demanded of the bizarre setting. His performance contains a likable self-deprecation that supplies the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, true to her usual style, imparts a particular brand of eccentricity that will be to your taste or not. Her portrayal seems a touch too detached, particularly when paired with Cox's vulnerable performance. (On another note, Gus the Dog succeeds in looking despondent – not quite the award-winner from Anatomy of a Fall, he remains a very good boy.)

The story strives to provide depth to the couple's history for sequences focusing solely on them – a bit of a pity, given that the title character is by far the best part of this film designed for charm. Expectedly, it meets the bare minimum. The catalyst for the split might seem more grounded and mature with greater exploration and more subtle storytelling. As it stands, Merv is slight and sweet, fulfilling all its marks. Crafting a story with this canine conflict has potential – though it's not exactly a stroke of genius.

• Merv becomes available on Prime Video starting December 10.