The Tribes of Palos Verdes

Though the story was written almost two decades ago, it’s a microcosm for the kind of wall-building mentality that has taken hold of the mainstream today, and the Malloy brothers achieve a kind of tragic poetry that sticks with those who make it a point to seek this one out.

Garner erupts and expectorates with winning zeal.

The directors and screenwriter Karen Croner are attuned to the different ways that Phil and Sandy selfishly draw their kids deeper into the domestic mess.

The acting is good all around but that, too, improves in the quieter moments. Monroe, best known for her work in “It Follows,” is tough and committed, and Jennifer Garner’s portrayal of a mad housewife sprinting to a meltdown is acute, even if its does require her to tamp down pretty much all of her engaging life-positive qualities.

The Malloys’ filmmaking never rises to the level of the actors’ nuanced performances. The actors are energized, but the camera enervates.

The unvaried register of the filmmaking leads the narrative to feel aimless and dramatically inert.

The Tribes of Palos Verdes privileges melodrama over nuance, pitting skilled actors against a humdrum script and sketchy roles. It doesn’t offer anything new, and bungles any mildly interesting plot points.