Metacritic reviews

While Kramer's well-conceived screenplay features much amusing dialogue, there's a forced quality to the proceedings that makes the comic premise seem more artificial than it needs to be.

Scripter/helmer Sue Kramer's awkward freshman outing eventually coasts on the genuine charm of its leads. A strong vehicle for Heather Graham, who has never looked lovelier, "Gray" scores most convincingly in its reinvention of Carole Lombardian sexual screwiness as head-spinning gender confusion.

Compared to Gray Matters, even a Nora Ephron bonbon has the weight of urban neo-realism.

The only bright spots are Cavanagh's easy charm about him and Cumming's performance as Grody -- he's much more believable as a straight man than Graham is as a gay woman.

This exhausting romance feels more like a long-lost episode of "Three's Company" in which Jack Tripper decides he is actually gay.

Graham makes the coming-out dithering bearable, but not before she has jumped through hoops of contrivance.

Kramer shows zero feeling for the nuances of a midlife sexual awakening.

Every once in a while you catch glimpses of originality and see what Gray Matters might have been if it hadn't gone soft and safe.

There isn't a remotely believable moment in the script here, and Kramer's leaden direction only helps strand a capable cast headed by Heather Graham in an hour and a half of virtual laugh-free tedium.

Coming from the strangely vacuous Graham, in a Manhattan this preposterous, the staid social message is as ludicrous as its surroundings.