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It is an often-repeated piece of advice for numerous people that sharing custody a canine companion following a split is a recipe for trouble. The consensus suggests such setups prevent individuals from finding closure, cause practical headaches, lead to tension, and prove frustrating for everyone involved. Apparently, as a development suited to a streaming movie, it reportedly leads to the dogs themselves to feel down.

While respecting the inner life of dogs – many owners attest to their deep emotional capacity. For a masterclass in pet despair, one need only look a past film. I firmly believe that a dog such as Merv, a scruffy terrier type played by Gus the Dog, would find it difficult coping with life in two homes. Whether this premise a full holiday film on this conflict holds water is debatable at best.

Predictable Foundations

Honestly, Merv, crafted by Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, makes no grand claims more profound than a light film. This is a holiday release from a major tech-and-media conglomerate – the depth are modest. The narrative proves to be uncomplicated: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their individual funk is matched by their dog's, take a therapeutic trip to a dog-friendly resort. Once there, as expected, they will presumably rediscover the idea that they belong with each other. Ensemble players – featuring a group of comedic actors – fulfill roles the usual assortment of types. Its aesthetic has the quality of a platform's in-house production, with a wintry atmosphere that is visibly contrived – as seen in flurries clinging to verdant foliage as a summer location stands in for the Northeast.

The Dog's Domain

If these standard ingredients coalesce into an entertaining watch rests upon the actors' work and one's taste for cinematic comfort food. For the comfort factor, Merv hones in on a demographic – individuals who seek out for dog videos. Audiences receive a series of adorable dog montages. The main attraction is the dog, and while this leads to some stilted moments between the pet's "lines" and people's faces, the movie succeeds in showing canine party antics, canine sorrow, and, in the end, a tail-wagging resolution.

Where It Wobbles

Such effectiveness cannot be applied for the interpersonal drama. Its style vacillates between emotional depth, wacky comedy, standard rom-com beats, and silly gags, never fully committing to any one mode. No blame falls on Cox's performance, who is willing to embrace the silliness and cringe required by the bizarre setting. Cox exhibits a likable self-deprecation that supplies the bulk of the chemistry for this seemingly ideal couple. Zooey Deschanel, in her typical fashion, injects a particular brand of eccentricity that will either resonate with viewers. Her portrayal comes across as a little too aloof, notably when alongside Cox's vulnerable performance. (For what it's worth, the canine performer manages flopping and whining – while no Messi from that acclaimed drama, he remains an excellent dog.)

The story strives to provide depth to the couple's history for scenes without their pet – a regrettable choice, given that Merv is easily the best part of this feel-good picture. As one might predict, it just about gets by. The catalyst for their separation could have been more grounded and mature with less exposition and less blunt explanation. As it stands, Merv is slight and sweet, hitting every expected note. Creating a movie on this shared-custody premise has potential – even if it's not exactly a great one either.

• Merv becomes available on Prime Video this December.