Kevin James has made a career out of a bumbling everyman persona, the average Joe caught in the mercy of those more charismatic, intelligent, or malicious than he is. His newest, “Solo Mio,” a Kinnane Brothers production, is a departure in genre, but finds him in no more control, at least to start.

Matt Taylor (Kevin James) is an elementary school art instructor who has found The One in fellow teacher Heather (Julie Ann Emery). After a sweet in-class engagement, the couple jets off to Rome to tie the knot. But Heather leaves Matt stranded at the altar. Now, their wedding and honeymoon in disrepair, Matt must make the most of his unexpectedly solo trip. Booked on duo excursions, like tandem bicycling and romantic candlelit dinners, Matt’s lonesome attendance draws the eyes of fellow honeymooners.

The ill-mannered, thrice-married Julian (Kim Coates) and nosy, prodding therapist Neil (Jonathan Roumie) decide it’s their responsibility to help Matt recoup. With unsolicited, often misguided advice, the duo feels a bit of vicarious glee from Matt’s misfortune, viewing him as a project for entertainment to colour their trip and distract them from their own dysfunctional relationship with their wives (Alyson Hannigan and Julee Cerda). But Matt finds authenticity in a chirpy Italian barista, Gia (Nicole Grimaudo), and the two caper across Rome together, forming a bond that doesn’t go unchallenged, but acts as a beacon of hope that heartbreak isn’t the end of the story.

Yet, the heartbreak is more implied than delivered. “Solo Mio” doesn’t do much to create a base for Matt and Heather’s relationship, nor does it sink into the drama of the disaster wedding. It moves at a breakneck pace to get to its primary plot, but neglects the emotional backdrop required to really invest. Indulgence itself is the film’s greatest lack. The film is unfocused, struggling to give equal screen time to the budding romance between Matt and Gia and to the wiles of the fellow honeymooners (who are far less interesting).

There’s tenderness to be found, primarily of course between Matt and Gia. He is bashful and reserved, bracing against her bubbly poise. It’s a typical opposites attract scenario. Matt, looking for stable ground, is instead encouraged by Gia to spread his wings. Their relationship is only sweet on paper, though, as James and Grimaudo have little to no chemistry to support the script. As independent entities, each performance feels true-to-life. James is not out of his depth as the insecure loverboy (though he’s much more committed in “Hitch”), and Grimaudo is pretty compelling as the forthright free-spirit. But once combined, there are miles of distance between the two that make it difficult for the butterflies to flutter.

“Solo Mio” doesn’t relish much of anything. The comedic aspects feel throwaway, and while the cast tries to redeem the sober punchlines with their own physical humour (mostly by way of Coates’ boorish flippance), it all falls flat. There’s a bland trio of latter-half surprises that sputter their way into the film rather than arriving with the intended degree of excitement.

The film doesn’t really have any high or low points, just sort of coasting on the kind of mediocrity that’s hard to critique. But in the rubric of rom-coms, “Solo Mio” doesn’t craft anything worth swooning over or laughing about. It’s an awkward film that seems to rely on the romance of its locale more than the efficacy of its own script. Even the introduction of Gia’s arrogant ex (and landlord), Vincenzo (Giancarlo Bartolomei), feels completely inconsequential.

“Solo Mio” is not a film that provides something to root for or against. Maybe it’s refreshing to see a film outline the discovery of new love in your 50s, but even so, an uninspired catalog of mishaps and thumb-twiddling romance will not be the poster child for this representation. Matt stumbles around Italy much like the film stumbles through its screenplay, rushing its exposition and conclusion, and fumbling its way through the middle.