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It is an often-repeated piece of advice for numerous people that jointly caring for a dog following a split is ill-advised. The consensus suggests such setups impede ex-partners from finding closure, cause practical headaches, spark arguments, and become annoying for all parties. Seemingly, as a development suited to a direct-to-platform film, it reportedly leads to the dogs themselves to experience sadness.

While respecting the emotional well-being of our pets – pet parents speak of their remarkable empathy. If you need masterclass in dog sorrow, simply recall recent cinema. There is little doubt that a dog such as Merv, a scruffy terrier type brought to life by Gus the Dog, would find it difficult adapting to divided living arrangements. The idea of basing a feature-length romcom on this conflict holds water remains a questionable prospect.

Predictable Foundations

To its credit, Merv, written by its screenwriters and under the guidance of director Swale, makes no grand claims more profound than a light film. This is a holiday release from a streaming platform giant – the ambitions are modest. The narrative proves to be simple and direct: former spouses Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their own sadness is matched by their dog's, embark on a cheer-up vacation to a dog-friendly resort. There, inevitably, they will surely rediscover the idea that they belong with each other. Side characters – featuring familiar faces – serve as the usual assortment of types. Visually has the quality of a branded content, with a wintry atmosphere that is clearly manufactured – exemplified by flurries piled on lush pines as a warm climate substitutes for a cold December city.

Where the Film Shines

Whether these predictable parts merge into a pleasant experience depends on the execution and the viewer's appetite for comfort viewing. Regarding the second aspect, Merv knows its audience – individuals who browse regularly for pet content. The film delivers a wealth of scenes focused on the pet. The primary selling point is Merv himself, and though it results in some awkward editing between what the dog does and people's faces, the movie delivers on walking sequences, pet moping, and, in the end, a tail-wagging resolution.

The Two-Legged Cast

The same praise cannot be applied for the human side of the story. The tone vacillates between serious study, wacky comedy, formulaic romance, and physical comedy, never fully committing to a single genre. No blame falls on Cox's performance, who is fully game the humiliating and funny inherent in the unusual premise. He brings a charming humility that provides a significant portion of the appeal for this seemingly ideal couple. Anna's portrayer, true to her usual style, imparts a particular brand of eccentricity that will either resonate with viewers. The character seems a bit too dry, particularly when contrasted against Cox's vulnerable performance. (For what it's worth, the canine performer succeeds in acting depressed – not quite Messi from that acclaimed drama, he is still an excellent dog.)

The story strives to give weight to the central romance for sequences focusing solely on them – a regrettable choice, given that the dog is by far the most adorable aspect of this film designed for charm. Expectedly, it achieves only baseline competence. The catalyst for their original breakup could have been more grounded and mature with less exposition and less blunt explanation. In the end, Merv is light and sugary, meeting precisely what you anticipate. Creating a movie with this canine conflict has potential – even if I wouldn't call it a great one either.

• Merv premieres on Prime Video this December.