Nearly five years and 1,659,320 ratings on Goodreads later, “People We Meet on Vacation” by Emily Henry has finally found its way onto the silver screen.
The book-to-screen adaptation, which premiered on Netflix last Friday, follows two long-distance best friends, Poppy and Alex (Emily Bader and Tom Blyth), on their annual week-long summer vacations throughout a decade. Per the source material, the film features a dual timeline chronicling the pair’s relationship before and after their falling out.
From its use of the “Only One Bed” trope to its inclusion of (spoiler) a third-act breakup, the film is distinctively an adaptation of a romance novel. Even so, readers may have noticed a few key changes to the story, including to the makeup of Poppy’s and Alex’s families. In the book, Alex has three younger brothers, while Poppy has two older brothers; however, in the film, Alex has only one younger brother, David, and Poppy’s siblings are absent altogether. Furthermore, the film shows fewer of Poppy and Alex’s summer trips than the book describes, and it arguably leans more into the story’s comedy than its romance.
While these changes were likely made to tame the film’s runtime and increase its entertainment value, the friends-to-lovers screen adaptation ends up doing much more telling than it does showing in developing its characters and advancing the plot. For example, lines that allude to Poppy’s closeness with Alex’s grandmother, Betty, don’t hold much weight because there aren’t any scenes between these characters to really showcase their relationship. The story’s emotional beats also take a hit, as the film falls short in contextualizing its main characters’ interiority, particularly leaving Poppy’s final monologue feeling somewhat unearned. That said, the film’s humor doesn’t disappoint, packed with puns (such as “Causal sax”) and dramatic irony that merits audible laughter.
“People We Meet on Vacation” notably stands out for its on-screen elements, as the mise-en-scène establishes Poppy and Alex’s status quo, from costumes to props. In their flashback meet-cute scene, Poppy’s flowy skirt—paired with a teal vest and magenta ankle boots—brings her free-spirited, Type B character to life, in stark contrast to Alex’s time-urgent, Type A personality, as he sports a sensible Boston College crewneck sweatshirt and khaki pants. Lighting further signifies the leads’ opposites-attract relationship, specifically in the motel scene where Poppy is bathed in warm oranges on one side of the screen, and Alex is illuminated in cool blues on the other.
The set design proves that the film’s visual themes were approached with intention, as Poppy’s New York City apartment houses dying plants and a near-empty fridge, demonstrating how the travel blogger often leaves the space vacant as she vacations around the world. As for cinematography, handheld camera movements effectively convey Poppy’s and Alex’s vulnerability during moments of emotional exposure.
Finally, the actors’ performances are undoubtedly the film’s highlight, as Bader’s portrayal of Poppy’s adventurous personality is endearing, and Blyth’s interpretation of Alex’s methodicalness is charming, creating a lovable chemistry that makes it hard not to root for their happy ending. And despite its noticeable lack of yearning and slow burn, especially in the era of The Summer I Turned Pretty’s Conrad Fisher, the film still manages to capture relatable themes for its new adult target audience, including self-discovery and finding home in people rather than places.
Overall, though the second-chance romance doesn’t call for an immediate rewatch, it still holds up as an enjoyable 2020s romantic comedy, perfect for the casual viewer who’s looking to witness some love and laughter or for the Emily Henry fan who’s craving to see two of the author’s most beloved characters on-screen.
“People We Meet on Vacation” is now streaming on Netflix.
Featured Photo Credit: Daniel Escale/Netflix – © 2025 Netflix, Inc.
Taylor Graham is a student at Columbia University, majoring in Film and Media Studies with a minor in Political Science. She has reported for numerous publications, including the Valencia Voice, Glitter Magazine, and Heritage Radio Network, and is currently the 150th Arts and Culture Editor for the Columbia Daily Spectator, one of the oldest college newspapers in the nation. With a passion for storytelling in the digital age, Taylor covers all things entertainment, from film and television to media and pop culture, interviewing professional actors, musicians, and content creators alike. When she’s not writing her next film review or feature story on an emerging artist, Taylor can be found playing tennis, reading literary fiction, or thrift shopping in NYC.