DEVIL IN THE DETAILS
was her teenage brother, Ben (Tye Sheridan in the flashbacks, Corey Stoll in the present), who the 8-yearold Libby (Sterling Jerins) accused of the murders, although it soon becomes clear that her testimony was shaky at best.
Libby has a lot to say about her status as a trauma victim and emotional train wreck, profiting off the public’s obsession with the Day killings while mocking her “fans” at every turn. (Such observations foreshadow the media feeding frenzy of Gone Girl.) She’s a hypocrite and not afraid to say it, a damaged woman-child and complete social outcast, which is what made her such a strong character in the book.
Yet beyond a few opening and closing remarks, Libby’s point of view is mostly absent from PaquetBrenner’s script, which juggles a half-dozen narrative strands as it hops back and forth between events leading up to the murder and scenes of the older Libby trying to figure out what happened. She’s egged on by Lyle Wirth (Hoult), the creepyfriendly treasurer of a local “Kill Club” whose members obsess over serial killings, family massacres and other such atrocities, trying to finger the true culprits.
Broke and behind on her rent, Libby agrees to help Lyle in exchange for cash, visiting her brother in jail and tracking down leads that include a stripper (Drea de Matteo) who accused Ben of molestation, a deadbeat dad (Sean Bridgers) who acted violently the day of the murder, and a grain dealer (J. LaRose) involved in some very 1980’s Satanic activities. Flashbacks provide further clues, especially when we learn about