I watched the film only about a year ago, so I remember the general plot line quite well. What i don't remember is the intricate order of the reveals, since the film features a heavy use of flashback and dream sequences.
Rex Reed from the Observer online (http://observer.com/2011/11/we-need-to-talk-with-kevin-review-rex-reed-john-c-reilly-ezra-miller-tilda-swinton/) calls it a 'vile, pretentious movie' with an 'incomprehensible script.' He does not agree with the type of timeline used, stating - 'Composed of brief images, like shards of broken milk bottles, the film takes forever for the pieces to form some kind of picture of what’s going on, and even then, some of the pieces never fit.' He comments that 'the movie jolts back and forth in 20-year time frames as it follows the shocked expressions of the traumatized mother of a psychopath.' and calls the whole ordeal a 'fractured mess.'
Collider online holds an interview with Ramsay, and the writer is a lot less critical of the film and its structure than Reed. Messr calls it 'hauntingly paced, with a jigsaw configuration of its timeline' and seems to think the fractured narrative adds to the audience experience. In the interview, we find out that Ramsay re-structured the novel, which is a series of letters from the mother, into a far more sympathetic portrait of a woman struggling with incredibly discomforting questions of motherhood.
I enjoyed reading this script which contained a lot of action notes and not much dialogue. I have a hard time myself writing dialogue and can see myself likely writing a script which features a minimal amount. This gave me a good tip about how to use more direction rather than speech in a script. Below is a screenshot example of one of the pages which contains no dialogue whatsoever.
