Question: Given the below context:  Good Girl Gone Bad received generally favorable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 72 based on 17 reviews. Uncut called it a "shiny, trans-atlantic blend of Europop vim, R&B grit and Caribbean bounce." Andy Kellman of AllMusic deemed it quintessential pop music and said each of its tracks was a potential hit. Quentin B. Huff of PopMatters praised the album, describing it as "more raw, perhaps edgier and more risqué" than Rihanna's previous material. Kelefa Sanneh of The New York Times wrote that the album "sounds as if it were scientifically engineered to deliver hits". Peter Robinson of The Observer commended her collaborators for "masking her own shortcomings" and commented that, "While Rihanna lacks her peers' charisma, she's a great vessel for exhilarating mainstream pop." Pitchfork Media's Tom Breihan found the album varied and satisfying. Neil Drumming of Entertainment Weekly felt that, although it "goes bad when Rihanna tries her hand at treacly ballads and glum sentiment", at times Good Girl Gone Bad is a "thrilling throwback to more than a decade ago, when upstart producers haphazardly mashed R&B with hip-hop to create chunky jeep anthems such as Mary J. Blige's 'Real Love'."In a mixed review, Rodney Dugue of The Village Voice felt that the album "never settles on a sound" and only cited its three Timbaland-produced songs as highlights. Although he found the ballads to be improvements from Rihanna's previous albums, Slant Magazine's Sal Cinquemani criticized the lyrics, particularly those written by Justin Timberlake, as an "Achilles' high heel for Rihanna". Alex Macpherson of The Guardian found Rihanna to be "ill-suited" for its dance-pop songs and stated, "The gimmicky samples and pounding beats bury her personality, and the summery reggae of her first two albums is sorely missed." Robert Christgau of MSN Music cited "Umbrella" as a "choice cut", indicating "a good song on...  Guess a valid title for it!
Answer: Good Girl Gone Bad


[Q]: Given the below context:  By the summer of 1906, Mahler had been director of the Vienna Hofoper for nine years. Throughout this time his practice was to leave Vienna at the close of the Hofoper season for a summer retreat, where he could devote himself to composition. Since 1899 this had been at Maiernigg, near the resort town of Maria Wörth in Carinthia, southern Austria, where Mahler built a villa overlooking the Wörthersee. In these restful surroundings Mahler completed his Symphonies No. 4, No. 5, No. 6 and No. 7, his Rückert songs and his song cycle Kindertotenlieder ("Songs on the Death of Children").Until 1901, Mahler's compositions had been heavily influenced by the German folk-poem collection Des Knaben Wunderhorn ("The Youth's Magic Horn"), which he had first encountered around 1887. The music of Mahler's many Wunderhorn settings is reflected in his Symphonies No. 2, No. 3 and No. 4, which all employ vocal as well as instrumental forces. From about 1901, however, Mahler's music underwent a change in character as he moved into the middle period of his compositional life. Here, the more austere poems of Friedrich Rückert replace the Wunderhorn collection as the primary influence; the songs are less folk-related, and no longer infiltrate the symphonies as extensively as before. During this period Symphonies No. 5, No. 6 and No. 7 were written, all as purely instrumental works, portrayed by Mahler scholar Deryck Cooke as "more stern and forthright ..., more tautly symphonic, with a new granite-like hardness of orchestration".Mahler arrived at Maiernigg in June 1906 with the draft manuscript of his Seventh Symphony; he intended to spend time revising the orchestration until an idea for a new work should strike. The composer's wife Alma Mahler, in her memoirs, says that for a fortnight Mahler was "haunted by the spectre of failing inspiration"; Mahler's recollection, however, is that on the first day of the vacation he was seized by the creative spirit, and plunged immediately into composition of the work that would become his...  Guess a valid title for it!
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[A]: Symphony No. 8 (Mahler)


input: Please answer the following: Given the below context:  As part of a plan to launder billions of dollars in London, "the Prince" – the head of the Russian Mafia – creates a new bank and has its financial oligarchs sign over their accounts to him. The first oligarch to do so is murdered alongside his family by a blue-eyed assassin. Poetics lecturer Perry MacKendrick  and his barrister wife Gail are on a holiday in Morocco to try and salvage their marriage after Perry slept with one of his students. Perry strikes up a friendship with Dima, a hearty and boisterous Russian with an eidetic memory. The two men bond over drinks and tennis before Dima invites both MacKendricks to his daughter's birthday. At the birthday party, Dima gets Perry alone and gives him a USB stick that links corrupt British politicians and businessmen to the Russian mafia. He fears for his life after hearing of his fellow oligarch's fate, and pleads with Perry to turn the USB stick over to MI6 when he returns to London. Perry turns the information over to MI6 agent Hector, the investigator in charge. The information provided by Dima enables Hector and his supervisor Billy to witness a meeting between the Prince and corrupt politician Aubrey Longrigg. Billy refuses to sanction an investigation on a chance meeting. Hector continues regardless and recruits the MacKendricks to help stage a chance encounter with Dima in France. There, Dima provides all the names of his clients and confirms each banker and politician involved has received £5 million each for their endorsement of the new bank, with Longrigg receiving £30 million. Dima refuses to provide the bank account numbers that would verify the corruption until he and his family have been granted asylum in London.  Guess a valid title for it!
++++++++++
output:
Our Kind of Traitor (film)