Problem: Given the below context: A small town Halloween festival finds itself intruded upon by an evil carnival with designs upon imprisoning and feeding off the souls of unwary teenagers. Targeted are four high school friends, Kellen, Beth, Nicole and Luke. Beth notices a new kid named Hunter and falls for him. Kellen then meets Lilith (who works at the carnival known as Dr. Hysteria's Hall of Horrors) and starts to fall for her too. However, Beth notices that Dr. Hysteria's carnival is odd and that her friends have started to act on their more negative traits. This results Luke turning into a clown and Nicole into a witch. Kellen is later led by Lilith to a movie theater hidden in Dr. Hysteria's attraction, which shows the viewer what they dream or desire most; in his case this would be winning Beth's affection from Hunter. This, however, is what Dr. Hysteria uses to capture new victims to use as monsters in his carnival and to feed on their souls as sustenance. Beth is later led to the theater, but is unaffected by what she sees, as she chooses her friends over Hunter; she then learns Hunter and Lilith are Dr. Hysteria's children. They want Beth to join them as her strength is what they seek in family; however, Beth sprays them with a bottle of exorcism materials, paralyzing them. This frees Kellen, their friends and another recent victim. Dr. Hysteria, his children, and his carnival are then sucked through a portal and disappear. Kellen then finally works up his courage and kisses Beth, to which she tells him that it was about time. The movie ends with the Cabinet glowing with a white light and opens. Guess a valid title for it!

A: Monsterville: Cabinet of Souls

Problem: Given the below context: Around 1730, the Baroque style gradually began to break away from the defined Roman style of Baroque and gain an even stronger individuality, for two reasons: the rush to rebuild was subsiding, construction was becoming more leisurely and thoughtful; and a new clutch of home-grown Sicilian architects came to the forefront. This new generation had watched the rebuilding in the Baroque, and studied the ever more frequent engravings and architectural books and treatises arriving from the mainland. However, they were not like their predecessors (the former students of the Romans), and consequently were able to formulate strong individual styles of their own. They included Andrea Palma, Rosario Gagliardi and Tommaso Napoli. While taking account of the Baroque of Naples and Rome, they now adapted their designs for the local needs and traditions. Their use of resources and exploitation of the sites was often wildly inventive. Napoli and then Vaccarini had promoted the use of the external staircase, which was now taken to a new dimension: churches upon the summits of a hills would be reached by fantastical flights of steps evoking Vaccarini's mentor Francesco de Sanctis's Spanish Steps in Rome.Facades of churches often came to resemble wedding cakes rather than places of worship as the architects grew in confidence, competence, and stature. Church interiors, which until this date had been slightly pedestrian, came especially in Palermo to be decorated in a riot of inlaid marbles of a wide variety of colours. Anthony Blunt has described this decoration as "either fascinating or repulsive, but however the individual spectator may react to it, this style is a characteristic manifestation of Sicilian exuberance, and must be classed amongst the most important and original creations of Baroque art on the island". This is the key to Sicilian Baroque; it was ideally matched to the Sicilian personality, and this was the reason it evolved so dramatically on the island. Nowhere in Sicily is the development of the new Baroque... Guess a valid title for it!

A: Sicilian Baroque

Problem: Given the below context: On her 18th birthday, India Stoker (Mia Wasikowska)a girl with a strong acuteness of the senseshas her life turned upside down after her loving father Richard dies in a horrific car accident. She is left with her unstable mother Evelyn. At Richard's funeral, Evelyn and India are introduced to Richard's charming and charismatic brother Charlie, who has spent his life traveling the world. India, who didn't know Charlie existed, is perturbed by his presence. He announces that he is staying indefinitely to help support India and Evelyn, much to Evelyn's delight and India's chagrin. Shortly after, India witnesses Charlie argue with Mrs. McGarrick, the head caretaker of the house. Mrs. McGarrick complains to Charlie that she has been his "eyes and ears" since he was a boy. Mrs. McGarrick then disappears. Charlie and Evelyn grow intimate while India continues to rebuff his attempts to befriend her. Later, her great aunt Gwendolyn visits the family, much to Evelyn and Charlie's dismay. At dinner, Gwendolyn shows surprise at Charlie's claims of traveling the world and tells Evelyn that she needs to talk to her about Charlie. Gwendolyn ends up changing hotels due to an unexplained fear and suspicion of Charlie. However, she loses her cell phone and tries to call the Stokers' home from her hotel payphone. Charlie corners her in the phone booth and strangles her to death with his belt. Meanwhile, India discovers Mrs. McGarrick's body in the freezer and realizes Charlie is a murderer. Guess a valid title for it!

A: Stoker (film)

Problem: Given the below context: The Mozart children were not alone as 18th-century music prodigies. Education writer Gary Spruce refers to hundreds of similar cases, and cites that of William Crotch of Norwich who in 1778, at the age of three, was giving organ recitals. British scholar Jane O'Connor explains the 18th century fascination with prodigies as "the realisation of the potential entertainment and fiscal value of an individual child who was in some way extraordinary". Other childhood contemporaries of Mozart included the violinist and composer Thomas Linley, born the same year as Wolfgang, and the organist prodigy Joseph Siegmund Bachmann. Mozart eventually became recognised among prodigies as the future standard for early success and promise.Of seven children born to Leopold and Anna Maria Mozart, only the fourth, Maria Anna (Nannerl), born 31 July 1751, and the youngest, Wolfgang Amadeus, born 27 January 1756, survived infancy. The children were educated at home, under Leopold's guidance, learning basic skills in reading, writing, drawing and arithmetic, together with some history and geography. Their musical education was aided by exposure to the constant rehearsing and playing of Leopold and his fellow musicians. When Nannerl was seven her father began to teach her to play the harpsichord, with Wolfgang looking on; according to Nannerl's own account "the boy immediately showed his extraordinary, God-given talent. He often spent long periods at the clavier, picking out thirds, and his pleasure showed that they sounded good to him... When he was five years old he was composing little pieces which he would play to his father who would write them down". A family friend, the poet Johann Andreas Schachtner, recounted that at the age of four Wolfgang began to compose a recognisable piano concerto, and was able to demonstrate a phenomenal sense of pitch. Guess a valid title for it!

A:
Mozart family grand tour