Problem: Given the question: Given the below context:  Former Division I collegiate wrestler Scott Voss is a 42-year-old bored and disillusioned biology teacher at the failing Wilkinson High School.  Budget cutbacks at the school jeopardize the continuation of its music program, which would result in its teacher, Marty Streb, being laid off.  Concerned for both his colleague and his students, Scott attempts to raise the $48,000 necessary to keep the music program alive.  He moonlights as a night instructor for an adult citizenship class, where student Niko asks him for outside tutoring.  When Scott arrives at Niko's apartment, he learns that Niko was a former mixed martial arts fighter.  While watching the UFC at Niko's apartment, Scott learns that the loser of a fight receives $10,000, which gives him the idea of raising the money by fighting and losing in MMA. Scott, helped by Niko and Marty, begins with small unsanctioned bouts paying only $750 to the loser.  Niko begins training him in defense, later adding trainer Mark to teach offense, after Scott knocks out an opponent and realizes that wins give larger payouts, needing fewer fights to achieve his $48,000 goal. While Mark trains with Scott, Malia De La Cruz, one of Scott's students and a band member, helps Niko study for his citizenship test by putting the information into songs. Scott then begins fighting in small MMA fights and gradually gaining higher amounts of money for the school.  Guess a valid title for it!
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The answer is:
Here Comes the Boom


Problem: Given the question: Given the below context:  Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death.  Guess a valid title for it!
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The answer is:
Gothic boxwood miniature


Problem: Given the question: Given the below context:  The premiere, originally planned for 14 September 1863, was postponed to the 30th because of the illness of the soprano lead, Léontine de Maësen. The first-night audience at the Théâtre Lyrique received the work well, and called for Bizet at the conclusion. The writer Louis Gallet, who later would provide several librettos for Bizet, described the composer on this occasion as "a little dazed ... a forest of thick curly hair above a round, still rather childish face, enlivened by the quick brown eyes..." The audience's appreciation was not reflected in the majority of the press reviews, which generally castigated both the work and what they considered Bizet's lack of modesty in appearing on stage. Gustave Bertrand in Le Ménestrel wrote that "this sort of exhibition is admissible only for a most extraordinary success, and even then we prefer to have the composer dragged on in spite of himself, or at least pretending to be". Another critic surmised that the calls for the composer had been orchestrated by a "claque" of Bizet's friends, strategically distributed.Of the opera itself, Benjamin Jouvin of Le Figaro wrote: "There were neither fishermen in the libretto nor pearls in the music". He considered that on every page the score displayed "the bias of the school to which [Bizet] belongs, that of Richard Wagner". Bertrand compared the work unfavourably with those of contemporary French composers such as Charles Gounod and Félicien David. "Nevertheless", he wrote, "there is a talent floating in the midst of all these regrettable imitations". Hector Berlioz was a voice apart in the general critical hostility; his review of the work in Journal des Débats praised the music's originality and subtlety: "The score of Les pêcheurs de perles does M. Bizet the greatest honour", he wrote. Among Bizet's contemporaries, the dramatist Ludovic Halévy wrote that this early work announced Bizet as a composer of quality: "I persist in finding in [the score] the rarest virtues". The youthful composer Émile Paladilhe told his father...  Guess a valid title for it!
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The answer is:
Les pêcheurs de perles