It might be her most quotable book. 'I just want to be your last.' 'You’re my favorite song.' Lines from it are all over Pinterest and Instagram. Her other books have great dialogue, but this one is a veritable quote machine. This quotability fuels its lasting popularity and makes it a standout in her collection—the book that lives on in fragments outside its pages.
One of the most impressive feats is making Wes likable from the start, even when he's being a sarcastic pain. Painter does this by showing his kindness in small, early actions—helping Liz when she's stranded, his patience with his brother, the way he quietly watches out for her even while teasing her. His rough exterior is immediately undercut by glimpses of a good heart.
This is a crucial rom-com skill: introducing the love interest as someone the reader can root for, even when the protagonist is still annoyed by them. Her style ensures we're in on the secret before Liz is. We see his potential, which creates wonderful dramatic irony and makes us eager for her to catch up. It's a careful manipulation of reader perspective that pays off in spades.
I'm just sitting here nodding along because 'Better Than the Movies' is my comfort read, and I've been chasing that high. 'The Do-Over' came closest for sure. There's a scene involving a spilled drink that had the exact same chaotic, hilarious, heart-racing vibe as the homecoming dance scene in BTTM.
The 'misunderstanding' trope is used, but thankfully it's not the engine of the third-act conflict. There are smaller misunderstandings—Liz misreading Wes's intentions, Wes assuming Liz is just using him—that feel authentic to teens navigating messy feelings.
What I appreciated was that the big potential misunderstanding (the scheme with Michael) is out in the open between them relatively early. The tension comes from Liz's internal conflict, not from a lack of communication between the main pair. They actually talk, even when it's awkward.
This avoids the frustrating plot device where everything could be solved with one conversation. The conflicts stem from character flaws and fears, not contrived secrecy. It's a more mature take on a trope that often feels lazy.