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It is a widely held belief among many that jointly caring for a pet following a split is a recipe for trouble. Most will argue such setups hinder individuals from finding closure, create logistical nightmares, lead to tension, and prove frustrating for everyone involved. Apparently, in a revelation suited to a streaming movie, it also makes the dogs themselves to become depressed.

Not to downplay the mental health of our pets – pet parents speak of their profound sensitivity. If you need standout portrayal in pet despair, consider recent cinema. I firmly believe that a dog such as Merv, a wired-hair terrier mix portrayed by Gus the Dog, would find it difficult adjusting to split households. If this concept a full holiday film on this conflict is sustainable remains a questionable prospect.

Standard Holiday Fare

To its credit, Merv, the work of Dane Clark and Linsey Stewart and helmed by Jessica Swale, makes no grand claims anything more than its premise. It functions as a Christmas movie from a major tech-and-media conglomerate – the depth is limited. Its storyline unfolds as uncomplicated: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, confronting that their post-breakup gloom is rivaled only by their dog's, take a cheer-up vacation to a luxury pet hotel. Once there, as expected, they will presumably stumble toward the idea that they belong with each other. Ensemble players – featuring a group of comedic actors – serve as eccentric, underutilized, or over-the-top. Visually carries the feel of a platform's in-house production, with a Christmas setting that is obviously artificial – as seen in flurries clinging to lush pines as a warm climate substitutes for the Northeast.

Where the Film Shines

How these standard ingredients coalesce into a pleasant experience rests upon the strength of the performances and an acceptance of easy entertainment. For the comfort factor, Merv hones in on a demographic – those people who browse regularly for pet content. It provides a plethora of adorable dog montages. The main attraction is the canine star, and even if it causes some stilted moments between what the dog does and people's faces, the movie delivers on canine party antics, pet moping, and, in the end, pure puppy happiness.

Where It Wobbles

Such effectiveness cannot be applied for the human side of the story. The tone vacillates between relationship drama, broad humor, formulaic romance, and silly gags, not quite landing a consistent feel. No blame falls on Charlie Cox, who is admirably committed the absurd and awkward required by the dog resort scenario. Cox exhibits a likable self-deprecation that supplies much of the film's charm for this on-the-rocks couple. Anna's portrayer, in her typical fashion, imparts a particular brand of eccentricity that will either resonate with viewers. Her Anna can feel a touch too detached, notably when paired with Cox's vulnerable performance. (On another note, Merv himself is convincing at flopping and whining – he may not be a canine thespian of that caliber, he is still a very good boy.)

Merv tries to provide depth to the central romance for sequences focusing solely on them – a bit of a pity, given that Merv is undoubtedly the best part of this film designed for charm. Expectedly, it meets the bare minimum. The cause for the split could have been more adult and realistic with greater exploration and less blunt explanation. Ultimately, Merv is gentle and pleasant, fulfilling every expected note. Crafting a story with this canine conflict isn't a bad idea – but it's hardly a great one either.

• Merv premieres on the Amazon platform this December.