Problem: Given the question: Given the below context: Richard Gaddis is a small-time crook with a penchant for con games. To hook marks, he acts like a well-to-do businessman, dressing like one and driving a Mercedes-Benz S500, believing that one must look like a professional in order to be a successful conman. Gaddis is searching for a new partner with whom he can perform more sophisticated cons. He discovers Rodrigo after he sees the young man playing some minor con games in a casino-bar. When Rodrigo is caught, Gaddis acts the part of a vice officer to save him from being arrested. Rodrigo's contribution is a face and naive manner so trustable that he is able to con anyone, while Richard is both completely unprincipled and clever. After several small tests to determine Rodrigo's trustworthiness, he suggests a partnership, to which Rodrigo quickly agrees. Although Rodrigo distrusts Richard greatly, he agrees to partner him on a gigantic scam, provided he gets a percentage of the money gained to help his ailing father, who is in trouble because of his gambling debts. Richard accepts, and they plan to sell a fraudulent version of a silver certificate currency note to William Hannigan, a rich collector who is in town. Gyllenhaal plays Gaddis' sister Valerie, a concierge at a hotel. When Hannigan takes a fancy to the uptight but very sexy Valerie, Gaddis is forced to pull her into the scam, the price of which is Richard's admission to their brother Michael that he has cheated him out of his share of their inheritance. The plot twists constantly as each of the characters becomes more deeply invested in the scam, and the ever-deceitful Richard tries to cheat Rodrigo, Valerie and Michael out of their share of the take. In the twist ending, it is revealed that all the major players involved, including Rodrigo and Hannigan, were playing a confidence game against Gaddis from the very beginning, so that Valerie and Michael could rightfully take their share of their inheritance. Guess a valid title for it!
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The answer is:
Criminal (2004 film)

Problem: Given the question: Given the below context: Jesus nahm zu sich die Zwolfe (Jesus gathered the twelve to Himself), BWV 22, is a church cantata by Johann Sebastian Bach composed for Quinquagesima, the last Sunday before Lent. Bach composed it as an audition piece for the position of Thomaskantor in Leipzig and first performed it there on 7 February 1723. The work, which is in five movements, begins with a scene from the Gospel reading in which Jesus predicts his suffering in Jerusalem. The unknown poet of the cantata text took the scene as a starting point for a sequence of aria, recitative, and aria, in which the contemporary Christian takes the place of the disciples, who do not understand what Jesus is telling them about the events soon to unfold, but follow him nevertheless. The closing chorale is a stanza from Elisabeth Cruciger's hymn "Herr Christ, der einig Gotts Sohn". The music is scored for three vocal soloists, a four-part choir, oboe, strings and continuo. The work shows that Bach had mastered the composition of a dramatic scene, an expressive aria with obbligato oboe, a recitative with strings, an exuberant dance, and a chorale in the style of his predecessor in the position as Thomaskantor, Johann Kuhnau. Bach directed the first performance of the cantata during a church service, together with another audition piece, Du wahrer Gott und Davids Sohn, BWV 23. He performed the cantata again on the last Sunday before Lent a year later, after he had taken up office. The cantata shows elements which became standards for Bach's Leipzig cantatas and even the Passions, including a "frame of biblical text and chorale around the operatic forms of aria and recitative", "the fugal setting of biblical words" and "the biblical narrative ... as a dramatic scena". Guess a valid title for it!
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The answer is:
Jesus nahm zu sich die Zwolfe, BWV 22

Problem: Given the question: Given the below context: Love. Angel. Music. Baby. takes influence from a variety of 1980s genres to the extent that one reviewer commented, "The only significant '80s radio style skipped is the ska punk revival that No Doubt rode to success". The album combines music genres such as electropop, new wave, dance-rock, soul, hip hop, R&B, and disco. Several songs employ synthesizer sounds characteristic of music from the 1980s, drawing comparisons to The Go-Go's and Cyndi Lauper. Stefani cited Club Nouveau, Depeche Mode, Lisa Lisa, Prince, New Order, The Cure, and early Madonna as major influences for the album.Like pop albums of the 1980s, Love. Angel. Music. Baby. focuses primarily on money, with songs such as "Rich Girl" and "Luxurious" that feature descriptions of riches and wealth. The album contains several references to Stefani's clothing line, L.A.M.B., and alludes to contemporary fashion designers such as John Galliano, Rei Kawakubo, and Vivienne Westwood. Stefani also released a series of dolls named the "Love. Angel. Music. Baby. Fashion Dolls", designed after the costumes from her tour. Although Stefani intended for the album to be a light dance record, she stated that "no matter what you do, things just come out." The album's opening track "What You Waiting For?" discusses her desire to be a mother and in 2006, she and her then husband, Bush singer Gavin Rossdale, had a son named Kingston Rossdale. The fourth track "Cool" discusses Stefani's friendship with Kanal after he ended a romantic relationship with her in 1995.Love. Angel. Music. Baby. introduced the Harajuku Girls, an entourage of four Japanese women whom Stefani referred to as a figment of her imagination. The Harajuku Girls are discussed in several of the songs, including one named after and entirely dedicated to them. They appear in most of the music videos produced for the album and those for Stefani's second album The Sweet Escape (2006). Love. Angel. Music. Baby. includes various styles of music. Many songs are influenced by electro beats designed for club... Guess a valid title for it!
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The answer is:
Love. Angel. Music. Baby.