Complications arise when the small wedding party takes in a little too much Vegas culture, and a drunken kiss ensues between Gray and Charlie, prompting a myriad of feelings in the former, the most prominent being pleasure. What follows is a pretty standard romantic triangle, except that Charlie doesn't seem to be too involved in it despite being the axis—the script mostly calls for Moynahan to look pretty and stare vacantly at her co-stars. This is Graham's vehicle to steer, sober or not.
First-time writer-director Kramer obviously intends for her film to be in the vein of classic screwball comedies. From the opening credits to the set decorations and even the dance numbers, the production is steeped in allusions to the 1940s. This isn't a problem until it comes to the screenplay, which constantly forces the three leads to make movie references that ring false—Graham and Moynahan clearly spend too much time on their appearance to spend hours in the dark taking in old films. What Kramer intends to be charming instead comes off as pretentious.
Ten years ago, Kevin Smith filmed another gay-themed romantic-triangle story filled with movie references. Chasing Amy may not have been too understanding of lesbian values, but Smith stuck to what he knew and the result was edgy and authentic. Save for some funny supporting performances from Molly Shannon and Alan Cumming, Gray Matters feels curiously flat and awkward. Perhaps it's a positive sign of increased acceptance, but who would have thought this subject matter could seem so tame?