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It is a common warning among many that jointly caring for a dog after a breakup is a recipe for trouble. Most will argue such setups impede individuals from moving forward, lead to scheduling chaos, lead to tension, and are a nuisance for all parties. As it turns out, and in a twist suited to a streaming movie, it reportedly leads to our furry friends to experience sadness.

Without minimizing the mental health of our pets – pet parents speak of their profound sensitivity. To witness a prime example in pet despair, simply recall another performance. I firmly believe that a dog like Merv, a scruffy terrier type portrayed by a talented dog named Gus, would have a hard time adapting to life in two homes. The idea of basing a feature-length romcom on this conflict is sustainable is debatable at best.

Predictable Foundations

Honestly, Merv, crafted by Dane Clark and Linsey Stewart and helmed by Jessica Swale, never aspires to be anything more than what it is. It functions as a seasonal offering from a major tech-and-media conglomerate – the complexity are modest. The narrative is destined to be simple and direct: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, confronting that their own sadness is rivaled only by their dog's, decide on a cheer-up vacation to a luxury pet hotel. Once there, as expected, they will surely realize the idea that they should reunite. Ensemble players – including a group of comedic actors – are crafted as the usual assortment of types. Visually is reminiscent of a streaming service original, with a Christmas setting that is visibly contrived – exemplified by flurries clinging to verdant foliage as a warm climate substitutes for the Northeast.

The Canine Charisma

If these predictable parts come together into a pleasant experience hinges on the strength of the performances and the viewer's appetite for cinematic comfort food. For the comfort factor, Merv hones in on a demographic – those people who seek out for cute animal clips. The film delivers a plethora of scenes focused on the pet. The central draw is the dog, and even if it causes some awkward editing between the pet's "lines" and human reaction, the movie succeeds in showing canine party antics, canine sorrow, and, finally, doggie joy.

Where It Wobbles

Such effectiveness cannot be applied for the interpersonal drama. Its style wavers between relationship drama, broad humor, formulaic romance, and physical comedy, not quite landing a single genre. The fault lies not with Charlie Cox, who is willing to embrace the humiliating and funny required by the bizarre setting. He brings a endearing lack of ego that supplies much of the film's charm for this on-the-rocks couple. Anna's portrayer, as is her trademark, imparts a distinctive offbeat energy that will click for some but not others. The character comes across as a bit too dry, notably when paired with Cox's vulnerable performance. (On another note, the canine performer succeeds in flopping and whining – he may not be Messi from that acclaimed drama, he remains an excellent dog.)

The story strives to add substance to the central romance for scenes without their pet – a bit of a pity, considering the dog is by far the most adorable aspect of this cute-aiming movie. As one might predict, it meets the bare minimum. The catalyst for their separation might seem more nuanced with greater exploration and less blunt explanation. In the end, Merv is light and sugary, hitting precisely what you anticipate. Making a film with this canine conflict isn't a bad idea – but it's not exactly a brilliant concept.

• Merv premieres on the Amazon platform this December.