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This is an often-repeated piece of advice among many that sharing custody a canine companion after a breakup is a terrible idea. The consensus suggests such situations hinder individuals from moving forward, lead to scheduling chaos, spark arguments, and prove frustrating for everyone involved. As it turns out, as a development fit for a direct-to-platform film, it can even cause our furry friends to experience sadness.

Not to downplay the inner life of animals – countless people speak of their profound sensitivity. To witness a prime example in pet despair, simply recall a past film. It seems certain that a dog of Merv's nature, a scruffy terrier type played by the canine actor Gus, would have a hard time adapting to split households. If this concept a feature-length romcom on such a setup is sustainable is a questionable prospect.

A Familiar Formula

To its credit, Merv, written by its screenwriters and helmed by playwright Jessica Swale, doesn't pretend to be deeper than its premise. This is a seasonal offering from a corporate studio – the depth remains surface-level. The narrative unfolds as simple and direct: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their own sadness is rivaled only by their dog's, embark on a uplifting getaway to a dog-friendly resort. At this location, predictably, they will presumably rediscover the idea that they are better together. Ensemble players – played by a group of comedic actors – fulfill roles the usual assortment of types. Its aesthetic is reminiscent of a branded content, with a wintry atmosphere that is clearly manufactured – as seen in obvious snow effects surrounding verdant foliage as North Carolina stands in for the Northeast.

Where the Film Shines

If these predictable parts merge into something enjoyable depends on the execution and one's taste for cinematic comfort food. Regarding the second aspect, Merv hones in on a demographic – the kind who browse regularly for pet content. The film delivers a wealth of canine-centric sequences. 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 delivers on canine party antics, canine sorrow, and, finally, doggie joy.

Where It Wobbles

The same praise cannot be applied for the interpersonal drama. The film's approach shifts uneasily between serious study, wacky comedy, formulaic romance, and silly gags, failing to master any one mode. This is not Cox's performance, who is willing to embrace the silliness and cringe demanded of the bizarre setting. Cox exhibits a endearing lack of ego that provides a significant portion of the appeal for this on-the-rocks couple. Her co-star Deschanel, in her typical fashion, injects a certain millennial quirkiness that will click for some but not others. Her Anna can feel a little too aloof, especially when paired with Cox's genuine sadness. (It should be noted, Merv himself manages acting depressed – while no Messi from that acclaimed drama, he is still a scene-stealer.)

The story strives to give weight to Anna and Russ's relationship for scenes without their pet – a regrettable choice, since the dog is easily the cutest element of this cute-aiming movie. Expectedly, it achieves only baseline competence. The cause for their separation could have been more adult and realistic with greater exploration and more subtle storytelling. Ultimately, Merv is slight and sweet, meeting precisely what you anticipate. Making a film on this shared-custody premise isn't a bad idea – but it's not exactly a great one either.

• Merv becomes available on Amazon Prime Video on December 10th.