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It is a common warning in certain circles that co-parenting a pet post-separation is a recipe for trouble. Most will argue such situations impede individuals from moving forward, lead to scheduling chaos, fuel disputes, and are a nuisance for everyone involved. Apparently, and in a twist suited to a streaming movie, it can even cause the dogs themselves to feel down.

Without minimizing the inner life of animals – countless people speak of their profound sensitivity. For a standout portrayal in dog sorrow, simply recall recent cinema. It seems certain that a dog such as Merv, a scruffy terrier type portrayed by the canine actor Gus, would struggle coping with split households. The idea of basing an entire Christmas romance around this situation is sustainable is a questionable prospect.

Standard Holiday Fare

To its credit, Merv, crafted by Dane Clark and Linsey Stewart and under the guidance of Jessica Swale, doesn't pretend to be more profound than a light film. We have here a Christmas movie from a corporate studio – the complexity is limited. Its storyline proves to be straightforward: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), realizing that their post-breakup gloom is surpassed by their dog's, take a uplifting getaway to a dog-friendly resort. Once there, as expected, they will surely rediscover the idea that they belong with each other. Side characters – played by a group of comedic actors – fulfill roles eccentric, underutilized, or over-the-top. Its aesthetic is reminiscent of a branded content, with a holiday backdrop that is visibly contrived – exemplified by flurries clinging to lush pines as a summer location stands in for a cold December city.

Where the Film Shines

Whether these familiar elements coalesce into an entertaining watch hinges on the execution and an acceptance of cinematic comfort food. Regarding the second aspect, Merv targets a specific viewer – the kind who browse regularly for cute animal clips. It provides a plethora of canine-centric sequences. The central draw is the dog, and even if it causes some clunky cuts between what the dog does and the actors' responses, the movie delivers on walking sequences, dog depression, and, ultimately, a tail-wagging resolution.

Where It Wobbles

The same praise cannot be applied for the human side of the story. Its style wavers between emotional depth, wacky comedy, standard rom-com beats, and silly gags, not quite landing a single genre. The fault lies not with Charlie Cox, who is fully game the absurd and awkward demanded of the dog resort scenario. Cox exhibits a charming humility that supplies the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, as is her trademark, injects a particular brand of eccentricity that will click for some but not others. Her portrayal comes across as a touch too detached, notably when alongside Cox's vulnerable performance. (On another note, Gus the Dog is convincing at looking despondent – while no a canine thespian of that caliber, he's definitely a scene-stealer.)

The film attempts to provide depth to the couple's history for scenes without their pet – a regrettable choice, since the title character is easily the most adorable aspect of this feel-good picture. As one might predict, it meets the bare minimum. The reason for the split could have been more grounded and mature with less exposition and more subtle storytelling. As it stands, Merv is gentle and pleasant, fulfilling every expected note. Crafting a story on this shared-custody premise has potential – though it's not exactly a stroke of genius.

• Merv premieres on the Amazon platform this December.