Kevin James is promoting his new romantic comedy Solo Mio while talking up the value of theatergoing, the creative freedom he found with Angel Studios, and why he avoids weighing in on politics during promotions.
Romantic comedies aimed at adults have felt scarce in recent years as tentpole franchises dominated screens, but a handful of smaller, thoughtful films have reminded audiences that grown-up romance still sells. Kevin James says Solo Mio benefited from that appetite and from the production approach Angel Studios took, which he credits with letting him do his thing on screen. He argues that his involvement helped secure a theatrical release, and the movie’s launch reflects a modest but meaningful win for mid-budget comedies.
James described the production relationship plainly: “This movie is me. [Angel Studios], more or less, got out of the way — in a good way — and just let me do what I do in the movie. That really worked out. They’re finding their way, but it gave me the freedom to do this. The film wouldn’t have been in theaters if I didn’t go with them.” That buy-in translated into a marketing push that included social media appearances, an AMA, and a memorable Super Bowl spot that leaned into the film’s premise.
The movie’s plot hinges on an awkward, funny heartbreak: Matt Taylor, a teacher played by James, is left at the altar and decides to take his booked trip to Rome alone. The setup gives the comedy room to breathe and the lead character a chance to find humor in disappointment. Early box office results were solid for the scale of the release, showing there’s still space for crowd-pleasing, character-driven fare between franchise releases.
Angel Studios is now finding success with lighter fare like “Solo Mio,” which earned a respectable $7.2 million in its opening weekend. The rom-com also earned an A- CinemaScore and an 81% Rotten Tomatoes critics score, the highest of James’ career.
James says the renewed theater excitement came back for him after a friend invited him to a screening, and he was reminded why seeing a film with an audience matters. “It was packed and it just destroyed,” he said of a special screening he attended last summer. He points to laughter and shared reactions as a key part of the cinematic experience that streaming can’t fully replicate, something he’s eager to preserve.
James hadn’t been to a movie theater in years until Adam Sandler invited him to a special screening of “Happy Gilmore 2” last summer, rejuvenating his passion for cinemas. “It was packed and it just destroyed,” James recalls. “Seeing people laugh together, you forget that energy. It feels like an event, not like watching something on your phone or iPad.”
James also praised Adam Sandler as both a friend and a career force, noting Sandler’s ability to offer practical advice and keep work enjoyable. “He’s the greatest friend in the world, but also the biggest star. He crushes more than anybody. When he gives advice, he lifts you up if something’s not going well and comes up with fixes. He’s a brilliant mind. It’s not easy, but he’s done it time and time again. It’s great to have him.” That admiration underscores how personal relationships in Hollywood still shape what gets made and how it’s promoted.
When the topic turned to potential sequels, James said he’s game for another Grown Ups installment if the right opportunity arises, and he’s open to any distribution path. “If they ever do another ‘Grown Ups,’ I would love it. I’m just excited to be there, whether it’s streaming or in the theaters. Can I say this? How about both? I love both.” His response reflects the hybrid reality studios and creators are navigating today.
On the broader future of theatrical releases and streaming consolidation, James voiced a simple wish for cinema’s continued relevance without getting into industry politics. “Maybe Netflix will, I don’t know,” James says, hoping the streamer embraces the theatrical business. “I guess they don’t have to — because they get [their movies] to everybody, but I just miss that experience. Netflix is trying to buy everybody up. If they get theaters back, I’m thrilled for theaters. That’s what I’m shooting for the most, but we’ll see.”
And while many performers feel pressured to share opinions on public issues, James intentionally avoids that role when promoting his work. He says experts should handle political discussion and that his priority is offering audiences a sincere diversion. “Politically, for me to speak on it, there are experts who know much more than I do.”
Politically, for me to speak on it, there are experts who know much more than I do.
I’m just focusing on what I can do, delivering a fun, heartfelt break from the craziness of the world.
Everybody carries themselves around all day long with a lot of stress. It’s necessary in some ways, but you also need a break. You’ve got to look around and find the good in things. Otherwise, you’re just not going to function. I want to make people have fun, have hope and get a nice escape in their day.
His stance harks back to a classic entertainer’s instinct: give people a respite and let others handle policy debates. That approach, combined with a tangible push from his studio and a receptive audience, could keep doors open for more adult comedies and rom-coms in theaters. Whether Solo Mio becomes a durable box office success or simply a welcome reminder of what mid-budget films can offer, it stands as an example of a targeted movie campaign that leans on personality and shared viewing experiences.
You can watch the trailer for “Solo Mio” below, courtesy of Angel Studios:
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