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This is a common warning for numerous people that sharing custody a pet following a split is a terrible idea. Experts frequently claim such setups prevent ex-partners from moving forward, lead to scheduling chaos, lead to tension, and prove frustrating for everyone involved. As it turns out, and in a twist fit for a direct-to-platform film, it reportedly leads to our furry friends to become depressed.

Without minimizing the inner life of our pets – pet parents speak of their profound sensitivity. For a prime example in canine melancholy, consider another performance. I firmly believe that a dog such as Merv, a scruffy terrier type portrayed by Gus the Dog, would find it difficult adjusting to life in two homes. If this concept a full holiday film on such a setup works effectively seems rather doubtful.

Predictable Foundations

Fairness demands noting, Merv, crafted by Dane Clark and Linsey Stewart and directed by playwright Jessica Swale, makes no grand claims anything more than what it is. It functions as a seasonal offering from a corporate studio – the depth is limited. Its storyline unfolds as simple and direct: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their post-breakup gloom is surpassed by their dog's, embark on a cheer-up vacation to a luxury pet hotel. At this location, predictably, they will surely stumble toward the idea that they are better together. The supporting cast – including a group of comedic actors – fulfill roles eccentric, underutilized, or over-the-top. Its aesthetic has the quality of a branded content, with a Christmas setting that is clearly manufactured – exemplified by obvious snow effects clinging to green trees as a warm climate doubles as a wintery Boston.

The Dog's Domain

How these familiar elements come together into something enjoyable hinges on the execution and an acceptance of cinematic comfort food. On the latter point, Merv knows its audience – those people who scroll endlessly for pet content. The film delivers a plethora of canine-centric sequences. The central draw is the dog, and while this leads to some clunky cuts between animal action and the actors' responses, the movie delivers on dog beach fun, dog depression, and, in the end, pure puppy happiness.

Where It Wobbles

This level of success is not earned for the interpersonal drama. Its style wavers between emotional depth, broad humor, formulaic romance, and physical comedy, not quite landing any one mode. No blame falls on the actor playing Russ, who is willing to embrace the humiliating and funny required by the bizarre setting. His performance contains a likable self-deprecation that provides a significant portion of the appeal for this ostensibly perfect couple. Anna's portrayer, as is her trademark, imparts a certain millennial quirkiness that will click for some but not others. The character seems a touch too detached, particularly when paired with Cox's vulnerable performance. (For what it's worth, the canine performer succeeds in acting depressed – while no the award-winner from Anatomy of a Fall, he's definitely a very good boy.)

The story strives to give weight to Anna and Russ's relationship for scenes without their pet – which is unfortunate, considering the dog is undoubtedly the cutest element of this cute-aiming movie. Unsurprisingly, it meets the bare minimum. The reason for their separation might seem more nuanced with less exposition and fewer direct statements. Ultimately, Merv is light and sugary, fulfilling all its marks. Making a film with this canine conflict has potential – but it's hardly a stroke of genius.

• Merv premieres on the Amazon platform on December 10th.