If only the filmmakers of 40 Days and 40 Nights had been more literally formulaic and arrived at their title via mathematical equations, the resulting scenario might have smelled a little fresher, e.g.: Six Weeks – 48 Hrs. = 40 Days and 40 Nights (sick-kid weepie morphs into odd-couple policier in reverse?). Or A Month (in the Country) + 2 Days (in the Valley) + The Day (the Earth Stood Still) + Weekend (at Bernie’s) + (The Lost) Weekend + Week-end = 40 Days and 40 Nights (chaste romantic reverie ends in spiraling nightmare of hitmen, aliens, dead fratboys, cheap Scotch, and snarled traffic?). Or Nine Months/28 Days + Seven Years (in Tibet)/(Gone in) 60 Seconds + A Year (of 13 Moons)/Two Weeks (in Another Town) = 40 Days and 40 Nights (madcap caper with pregnant 12-stepper, car-boosting monks, and cutthroat transsexual filmmakers?). As it is, this squeamishly risqué teen sexcom, in which vapid horndog Josh Hartnett determines to give up shtupping-and-spanking for Lent (the legendary Seinfeld episode – wit + weird Christian overtones, set in a San Francisco – gays + antiquated dotcom color), roughly splits the difference between Six Days, Seven Nights and 9 1/2 Weeks. Which is something like the nth-order derivative of an infinite regression.