Learned by Reading
In the ICWSM 2009 Weblog Corpus:
) Spin [363 Words] Twist R References to Dodge / David, Dodge / Oliver Set right before the end of the film.
(Parse)
(S1 (FRAG (-RRB- -RRB-)
(VP (VB Spin)
(NP (NP (JJ -LSB-)
(ADJP (CD 363) (NNS Words) (JJ -RSB-)) (NN Twist) (NN R) (NNS References))
(PP (TO to)
(NP (NP (NNP Dodge) (NNP /) (NNP David)) (, ,)
(NP (NNP Dodge) (NNP /) (NNP Oliver) (NN Set)))))
(PP (ADVP (RB right)) (IN before)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))
(. .)))
In Wikipedia:
Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and died out after the film’s end.
(Parse)
(S1 (S (NP (NNP Stanton))
(VP (VBD felt)
(SBAR (S (NP (NP (PDT half) (DT the) (NN audience))
(PP (IN at)
(NP (DT the) (NN screening))))
(VP (VP (VBD believed)
(SBAR (S (NP (DT the) (NNS humans))
(VP (MD would)
(VP (AUX be)
(ADJP (JJ unable)
(S (VP (TO to)
(VP (VB cope)
(PP (IN with)
(S (VP (VBG living)
(PP (IN on)
(NP (NNP Earth)))
(CC and)
(VP (VBD died) (PRT (RP out))
(PP (IN after)
(NP (NP (DT the) (NN film) (POS 's)) (NN end)))))
(. .)))
In the British National Corpus:
But our real kick came at the end of the film when the lights went up.
(Parse)
(S1 (S (CC But)
(NP (PRP$ our) (JJ real) (NN kick))
(VP (VBD came)
(PP (IN at)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))))
(SBAR (WHADVP (WRB when))
(S (NP (DT the) (NNS lights))
(VP (VBD went) (PRT (RP up)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
It’s an honest an unapologetic scene, and coming as it does near the end of the film, it says that while we may be fascinated by these people, we should have no illusions about them.
(Parse)
(S1 (S (S (NP (PRP It))
(VP (AUX 's)
(NP (DT an) (JJ honest))
(NP (DT an) (JJ unapologetic) (NN scene)) (, ,) (CC and)
(VP (VBG coming)
(SBAR (IN as)
(S (NP (PRP it))
(VP (AUX does)
(PP (IN near)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))))
(, ,)
(NP (PRP it))
(VP (VBZ says)
(SBAR (IN that)
(S (SBAR (IN while)
(S (NP (PRP we))
(VP (MD may)
(VP (AUX be)
(VP (VBN fascinated)
(PP (IN by)
(NP (DT these) (NNS people)))))
(, ,)
(NP (PRP we))
(VP (MD should)
(VP (AUX have)
(NP (NP (DT no) (NNS illusions))
(PP (IN about)
(NP (PRP them)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Yet the damage has been done, and by the end of the film, the two are no longer friends and are hardly even acquaintances.
(Parse)
(S1 (S (CC Yet)
(S (NP (DT the) (NN damage))
(VP (AUX has)
(VP (AUX been)
(VP (AUX done)))))
(, ,) (CC and)
(S (PP (IN by)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))))
(, ,)
(NP (DT the) (CD two))
(VP (VP (AUX are) (ADVP (RB no) (RB longer))
(NP (NNS friends)))
(CC and)
(VP (AUX are) (ADVP (RB hardly))
(NP (RB even) (NNS acquaintances)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Thomas’ legacy of philanthropy and good works must be continued through Bruce, who finally takes control of the company by the film’s end.
(Parse)
(S1 (S (NP (NP (NP (NNP Thomas) (POS ')) (NN legacy))
(PP (IN of)
(NP (UCP (JJ philanthropy) (CC and) (JJ good)) (NNS works))))
(VP (MD must)
(VP (AUX be)
(VP (VBN continued)
(PP (IN through)
(NP (NP (NNP Bruce)) (, ,)
(SBAR (WHNP (WP who))
(S (ADVP (RB finally))
(VP (VBZ takes)
(NP (NP (NN control))
(PP (IN of)
(NP (DT the) (NN company))))
(PP (IN by)
(NP (NP (DT the) (NN film) (POS 's)) (NN end)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Henry Kaiser’s estate serves as the Corleone Compound in this epic sequel, a superb setting for the crime family’s good times – the son’s first communion party – and by the film’s end an evocative backdrop for Michael’s growing isolation, as he sits staring by the lake.
(Parse)
(S1 (S (NP (NP (NNP Henry) (NNP Kaiser) (POS 's)) (NN estate))
(VP (VBZ serves)
(PP (IN as)
(NP (DT the) (NNP Corleone) (NN Compound)))
(PP (IN in)
(NP (NP (DT this) (NN epic) (NN sequel)) (, ,)
(NP (NP (DT a) (JJ superb) (NN setting))
(PP (IN for)
(NP (NP (NP (DT the) (NN crime) (NN family) (POS 's)) (JJ good) (NNS times)) (: --)
(NP (NP (DT the) (NN son) (POS 's)) (JJ first) (NNP communion) (NN party)) (: --) (CC and)
(PP (IN by)
(NP (NP (DT the) (NN film) (POS 's)) (NN end)))
(NP (NP (DT an) (JJ evocative) (NN backdrop))
(PP (IN for)
(NP (NP (NNP Michael) (POS 's)) (JJ growing) (NN isolation)))
(, ,)
(SBAR (IN as)
(S (NP (PRP he))
(VP (VBZ sits)
(S (VP (VBG staring)
(PP (IN by)
(NP (DT the) (NN lake)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Features scenes of the Carnation Revolution accompanied by this song near the end of the film, suggesting that working class experiences of dispossession and displacement expressed in fados, a musical genre which, like blues and tango, originated in the process of Donovan prison state and working class migration in the nineteenth century, could, and sometimes did, culminate in revolution.
(Parse)
(S1 (S (VP (VBZ Features)
(NP (NP (NNS scenes))
(PP (IN of)
(NP (DT the) (NNP Carnation) (NNP Revolution)))
(VP (VBN accompanied)
(PP (IN by)
(NP (NP (DT this) (NN song))
(PP (IN near)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))
(, ,)
(S (VP (VBG suggesting)
(SBAR (IN that)
(S (NP (NP (JJ working) (NN class) (NNS experiences))
(PP (IN of)
(NP (NN dispossession) (CC and) (NN displacement))))
(VP (VBN expressed)
(PP (IN in)
(NP (NP (NNP fados)) (, ,)
(NP (NP (DT a) (JJ musical) (NN genre))
(SBAR (WHNP (WDT which))
(S (, ,)
(PP (IN like)
(NP (NP (NNS blues) (CC and) (NNP tango)) (, ,)
(VP (VP (VBN originated)
(PP (IN in)
(NP (NP (DT the) (NN process))
(PP (IN of)
(NP (NNP Donovan) (NN prison) (NN state)))
(CC and)
(VP (VBG working)
(NP (NN class) (NN migration))
(PP (IN in)
(NP (DT the) (JJ nineteenth) (NN century))))
(, ,)
(VP (MD could) (, ,) (CC and) (ADVP (RB sometimes))
(VP (AUX did)) (, ,)
(VP (VB culminate)
(PP (IN in)
(NP (NN revolution))))
(. .)))
In Wikipedia:
Reportedly, Sessue Hayakawa edited his copy of the script so that it only contained his own lines of dialogue; thus, he did not know that his character was to be killed off at the end of the film.
(Parse)
(S1 (S (ADVP (RB Reportedly)) (, ,)
(NP (NNP Sessue) (NNP Hayakawa))
(VP (VBD edited)
(NP (NP (PRP$ his) (NN copy))
(PP (IN of)
(NP (DT the) (NN script))))
(SBAR (IN so) (IN that)
(S (S (NP (PRP it)) (ADVP (RB only))
(VP (VBD contained)
(NP (NP (PRP$ his) (JJ own) (NNS lines))
(PP (IN of)
(NP (NN dialogue)))
(: ;)
(S (ADVP (RB thus)) (, ,)
(NP (PRP he))
(VP (AUX did) (RB not)
(VP (VB know)
(SBAR (IN that)
(S (NP (PRP$ his) (NN character))
(VP (AUX was)
(S (VP (TO to)
(VP (AUX be)
(VP (VBN killed) (PRT (RP off))
(PP (IN at)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
The film’s end is almost tragic, but in total I liked the lightness in it.
(Parse)
(S1 (S (S (NP (NP (DT The) (NN film) (POS 's)) (NN end))
(VP (AUX is)
(ADJP (RB almost) (JJ tragic))))
(, ,) (CC but)
(S (PP (IN in)
(NP (NN total)))
(NP (PRP I))
(VP (VBD liked)
(NP (DT the) (NN lightness))
(PP (IN in)
(NP (PRP it)))))
(. .)))
In Wikipedia:
The film gained a measure of notoriety, however, for a scene in which a horse falls to its death down a rocky slope toward the end of the film.
(Parse)
(S1 (S (NP (DT The) (NN film))
(VP (VBN gained)
(NP (NP (DT a) (NN measure))
(PP (IN of)
(NP (NN notoriety))))
(, ,) (ADVP (RB however)) (, ,)
(PP (IN for)
(NP (NP (DT a) (NN scene))
(SBAR (WHPP (IN in) (WHNP (WDT which)))
(S (NP (DT a) (NN horse))
(VP (VBZ falls)
(PP (TO to)
(NP (PRP$ its) (NN death)))
(PP (IN down)
(NP (NP (DT a) (JJ rocky) (NN slope))
(PP (IN toward)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film))))
(. .)))
In Wikipedia:
Towards the end of the film, he is sent to a reform school, from which he escapes.
(Parse)
(S1 (S (PP (IN Towards)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))))
(, ,)
(NP (PRP he))
(VP (AUX is)
(VP (VBN sent)
(PP (TO to)
(NP (NP (DT a) (NN reform) (NN school)) (, ,)
(SBAR (WHPP (IN from) (WHNP (WDT which)))
(S (NP (PRP he))
(VP (VBZ escapes)))))
(. .)))
In Wikipedia:
Unfortunately the day he chooses to suggest this to Ruby, he finds a younger man in her bed, leaving him disheartened at the film’s end and wondering What’s it all about?
(Parse)
(S1 (S (SBAR (RB Unfortunately)
(S (NP (DT the) (NN day))
(NP (PRP he))
(VP (VBZ chooses)
(S (VP (TO to)
(VP (VB suggest)
(NP (DT this))
(PP (TO to)
(NP (NNP Ruby)))
(, ,)
(NP (PRP he))
(VP (VBZ finds)
(NP (DT a) (JJR younger) (NN man))
(PP (IN in)
(NP (PRP$ her) (NN bed)))
(, ,)
(S (VP (VBG leaving)
(NP (PRP him))
(VP (VBN disheartened)
(PP (IN at)
(NP (NP (DT the) (NN film) (POS 's)) (NN end))))
(CC and)
(VP (VBG wondering)
(ADJP (JJ What)
(S (VP (POS 's)
(NP (PRP it)))))
(PP (DT all) (IN about)))
(. ?)))
In the ICWSM 2009 Weblog Corpus:
Toward the film’s end, the questions arise: Should Batman be the hero Gotham City deserves?
(Parse)
(S1 (S (PP (IN Toward)
(NP (NP (DT the) (NN film) (POS 's)) (NN end)))
(, ,)
(NP (DT the) (NNS questions))
(VP (VB arise)) (: :) (SQ (MD Should)
(NP (NNP Batman))
(VP (AUX be)
(NP (NP (DT the) (NN hero))
(SBAR (S (NP (NNP Gotham) (NNP City))
(VP (VBZ deserves)))
(. ?))))
In the ICWSM 2009 Weblog Corpus:
And this is why, in some sense, I think the Joker can be read, by the end of the film at least, as the most conservative character in the movie, in that he desires, and is willing to go to any lengths necessary, to maintain the status quo, I. e., Batman waging a never – ending war on the mob (and presently on the Joker himself).
(Parse)
(S1 (S (CC And)
(NP (DT this))
(VP (AUX is)
(SBAR (WHADVP (WRB why))
(S (, ,)
(PP (IN in)
(NP (DT some) (NN sense)))
(, ,)
(NP (PRP I))
(VP (VBP think)
(SBAR (S (NP (DT the) (NNP Joker))
(VP (MD can)
(VP (AUX be)
(VP (VBN read) (, ,)
(PP (IN by)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))
(ADVP (IN at) (JJS least))))
(, ,)
(PP (IN as)
(NP (NP (DT the)
(ADJP (RBS most) (JJ conservative)) (NN character))
(PP (IN in)
(NP (DT the) (NN movie)))))
(, ,)
(SBAR (IN in) (IN that)
(S (NP (PRP he))
(VP (VP (VBZ desires)) (, ,) (CC and)
(VP (AUX is)
(ADJP (JJ willing)
(S (VP (TO to)
(VP (VB go)
(PP (TO to)
(NP (NP (DT any) (NNS lengths))
(ADJP (JJ necessary)) (, ,)
(S (S (S (VP (TO to)
(VP (VB maintain)
(NP (DT the) (NN status) (NN quo)) (, ,) (FRAG (NP (PRP I)) (. .)
(NP (NNP e)) (. .)))))
(, ,)
(NP (NNP Batman))
(VP (VBG waging)
(NP (DT a) (RB never))))
(: -)
(S (VP (VBG ending)
(NP (NP (NN war))
(PP (IN on)
(NP (DT the) (NN mob)))
(PRN (-LRB- -LRB-) (CC and) (ADVP (RB presently))
(PP (IN on)
(NP (NP (DT the) (NNP Joker))
(NP (PRP himself))))
(-RRB- -RRB-))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Towards the end of the film, he confronts Anne and tells her that she stopped wanting their daughter two months after she was born – to which Anne responded that he stopped wanting her at about the same time.
(Parse)
(S1 (S (PP (IN Towards)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))))
(, ,)
(NP (PRP he))
(VP (VP (VBZ confronts)
(NP (NNP Anne)))
(CC and)
(VP (VBZ tells)
(NP (PRP her))
(SBAR (IN that)
(S (NP (PRP she))
(VP (VBD stopped)
(S (VP (VBG wanting)
(NP (PRP$ their) (NN daughter))))
(SBAR (NP (CD two) (NNS months)) (IN after)
(S (NP (PRP she))
(VP (AUX was)
(VP (VBN born) (: -)
(SBAR (WHPP (TO to) (WHNP (WDT which)))
(S (NP (NNP Anne))
(VP (VBD responded)
(SBAR (IN that)
(S (NP (PRP he))
(VP (VBD stopped)
(VP (VBG wanting)
(NP (PRP her))
(PP (IN at)
(NP (RB about) (DT the) (JJ same) (NN time))))
(. .)))
In Wikipedia:
At the film’s end, Janos’s body and that of his enemies are discovered by the police.
(Parse)
(S1 (S (PP (IN At)
(NP (NP (DT the) (NN film) (POS 's)) (NN end)))
(, ,)
(NP (NP (NP (NNP Janos) (POS 's)) (NN body) (CC and) (DT that))
(PP (IN of)
(NP (PRP$ his) (NNS enemies))))
(VP (AUX are)
(VP (VBN discovered)
(PP (IN by)
(NP (DT the) (NN police)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
There are also shocks with suspense: the school attack; when Annie is dead; the gulls peck the farmer’s eyes; the petrol station scene; the attack on Melanie in the attic and the huge number of still birds at the end of the film.
(Parse)
(S1 (S (NP (EX There))
(VP (AUX are) (ADVP (RB also))
(NP (NP (NP (NNS shocks))
(PP (IN with)
(NP (NN suspense))))
(: :)
(NP (NP (DT the) (NN school) (NN attack)) (: ;)
(SBAR (WHADVP (WRB when))
(S (NP (NNP Annie))
(VP (AUX is)
(ADJP (JJ dead)))))
(: ;)
(S (NP (DT the) (NNS gulls))
(VP (VBP peck)
(NP (NP (DT the) (NN farmer) (POS 's)) (NNS eyes))))
(: ;)
(NP (DT the) (JJ petrol) (NN station) (NN scene)) (: ;)
(NP (NP (DT the) (NN attack))
(PP (IN on)
(NP (NNP Melanie)))
(PP (IN in)
(NP (DT the) (NN attic))))
(CC and)
(NP (NP (DT the) (JJ huge) (NN number))
(PP (IN of)
(NP (NP (RB still) (NNS birds))
(PP (IN at)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (DT the) (NN film)))))
(. .)))
In Wikipedia:
Phillips adapted Paul Dukas’ “The Sorcerer’s Apprentice” for the psychedelic scene at Z – Man’s house near the film’s end.
(Parse)
(S1 (S (NP (NNP Phillips))
(VP (VBD adapted)
(NP (NP (NNP Paul) (NNP Dukas) (POS ')) ('' '')
(NP (NP (DT The) (NNP Sorcerer) (POS 's)) (NN Apprentice)) ('' '')
(PP (IN for)
(NP (DT the) (JJ psychedelic) (NN scene))))
(PP (IN at)
(NP (NP (NP (SYM Z)) (: -)
(NP (NP (NNP Man) (POS 's)) (NN house)))
(PP (IN near)
(NP (NP (DT the) (NN film) (POS 's)) (NN end)))
(. .)))
And 3,148 more sentences.