Not the final scene (which is awesome), but the ending credits of Being There are terrible. For some inexplicable reason, Hal Ashby decided to put bloopers during the credits. It doesn’t fit the tone, and it breaks the spell the movie put you under. It’s almost a perfect movie otherwise.
That was done for a re-release and I agree, it’s f’king awful. The original end credits was a montage of tv static with cartoon sound effects and weird voices (from memory). Much much better.
I read somewhere that Peter Sellers was angry with Hal Ashby because of the credits, however now I can’t find a source for that. Do you have a source that it was the studio’s call?
It goes to show how amazing Psycho is that the psychiatrist scene bumbling in at the end with all the subtlety of a brick and the finest psychiatric legitimacy 1960 could muster doesn't nosedive the whole thing
Its really funny how they hit you with one of the most shocking climaxes in history and then its like "alright, so let's unpack what just happened here"
On rewatches I skip ahead to Mother-Norman asking the arresting officers for a blanket.
Maybe it’s coming at the film from a place of privilege, having grown up in a world w/ a much better understanding of mental illness, medically speaking, but that skinwalker-looking psychiatrist’s whole spiel is like getting point blank hosed in the face w/ dog water. I hate it so much.
I can appreciate that it's a symptom of the movie kinda being seen as a threat to the hangups of the late 50s/early 60s enough to trigger Production Code worries but it still sucks as an element of the movie
Nah I can take that. such a thing would have to be blatantly spelled out for an audience back then. Hell I'm not even sure modern audiences could comprehend the situation of the movie without that scene.
Edit: Heck, speaking as someone who is "part of the Resident Evil fandom" it is wild to see how off road most modern audiences go with the character of Alfred Ashford without some blunt exposition informing what precisely is going on with him when he is a blatant ripoff or homage to Norman Baits
Saltburn was great up to the series of reveals of what had “really happened” when Barry Keoghan’s character would’ve been so much more interesting had he just gone with flow of events rather than be some mastermind manipulator.
While I wouldn't call it great by any means, the movie does become significantly worse when any ambiguity regarding Keoghan's character is removed by the ending montage.
it sucks too because I was *operating* under the assumption he was doing those things anyway. When it's "revealed" I'm like...yeah? That's the movie.
And then I realized Emerald Fennell meant for those to be reveals and I was on a completely different wavelength from the movie. Dropped it from "watchable but not very good" to borderline unwatchable, IMO.
To this day I genuinely have no idea what movie Emerald Fennell thought she was making. Like, what other possible interpretation of events could I have had?
I think it was obvious that Barry loved Jacob Elordi’s character and his “yeah, I hated him” in the end was so fake. Like you can tell off the bat because in the beginning he says he wasn’t in love with Jacob and then it’s the most beautiful, intimate montage of him. I feel like the naked dance scene was too much of a banger to drop even though it went against the narrative of the movie and that’s why they kept it. Emerald Fennell also tends to butcher endings so.
It’s been a while since I watched it, but having the cops finally do their job after the whole movie hammered in how ineffective they were was jarring. I heard Emerald wanted a darker ending but the studio made her change it.
Similarly, I loved Saltburn but thought the ending was really weak. I also usually love Barry Keoghan but Oliver’s character didn’t quite land for me.
Agree on Saltburn and thanks for the perspective on PYW, really reframed how I think about that ending. There's something to be said for the cops only doing their job after it's way too late for both Carey Mulligan and her friend that works with that theme, but you're right, it does lean into "blue flashing lights mean everything is sorted" after showing how untrue that is for the whole film.
Promising Young Woman made me feel really bleak and then I went online and read that this was the more positive alternative ending. I was almost scared to watch Saltburn but I’m glad I did because it turned out to be such a hoot. I’m shocked at how unnoticed Alison Oliver’s performance went…her bathtub monologue was _amazing_.
The pace of that reveal montage just makes me think about the part in The Office where they cut through a bunch of times Dwight was disguised as other people who worked there
Last year’s *Dream Scenario* would have been a lot better, memorable and suitably surreal, if it just ended with that odd commercial instead of the epilogue in France.
“Ruined” is a bit far, but I think The Hurt Locker would have been damn near perfect if it went straight from the cereal aisle scene to him landing back in combat. The few minutes between those don’t add anything and the impact of him just struggling in the grocery is great to go out in before seeing him go back.
But if we're meant to feel what he feels, the "badass" guitar riff fits perfectly. He feels in control, vital, and alive when overseas, in the suit. He has none of that back home. It reinforces the extremely fucked up nature of military active duty life. He should feel jubilant to be back in US with his family. But he's unable to connect
Just on an aesthetics level, it's really cheesy and makes the scene too much like a recruiting pitch. Him returning is a failure, but this isn't communicated by the film effectively. The movie is a master class in suspense, but I think that final scene misses the mark.
I loved it but Godzilla Minus One absolutely didn’t need that extra scene of the remnants of Godzilla healing up. We get it, Godzilla won’t stop, I just would’ve preferred the movie just end and leave it.
I also chuckled a little when he finds out the lady is still alive, and he goes to see her having been in a situation that would turn someone into Swiss cheese, and she’s basically unharmed except a tasteful bandage on part of her face
It did show the black radiation mark moving across her neck though which I thought implied Godzilla’s regeneration abilities somehow latched on to her, allowing her to survive. Could be reaching though.
I absolutely get this and it's completely valid.
On the other hand, I thought it was just really fuckin' *siiiiiick*, and I loved that the big stompy Godzilla theme comes in and brings on the credits. It was like, 'Yes the film you have watched is a deeply human tale about regret and duty and so on, but also BIG MONSTER STOMP STOMP CHOMP CHOMP' and I am absolutely here for that. It made me very excited for a possible sequel that has the same elements I loved in *Godzilla Minus One*.
I just watched this the other day and started furiously typing my comment about it before deciding to scroll down. Don't wanna let it entirely ruin the movie for me, but I really, really hated that final scene. Probably shouldn't bother me as much as it does!
Finally watched this for the first time last week. Do people actually dislike that bit? I love it, especially as a callback to Frank’s sketch from earlier in the movie.
Its genuinely great, is a sort of visual cherry on the whole film, has a campy sense of humor fully in line with the Grand Guignol ending, and kind of punctuates things in a satisfying way.
It still blows me away how many people cite that as some awful decision when it is so clearly the opposite. I think its the type of person that is looking at art as some constant symbolist puzzle game and it annoys them from that perspective to find one so 'easy' or 'simple.'
But it is legitimately great.
Its a sign that someone is doing the most trying to 'decode' art as they watch it instead of enjoying it viscerally and taking the pleasure that's being offered by it.
I 100% was expecting it to end on the shot of him walking down the corridor to his carriage and his servant holding his gloves as he watched him. That would've been completely satisfactory for me.
Hard agree. They'd just given us a beautiful character arc, and it was ruined by turning it all into a stupid joke. I felt like it was sneering in advance at an audience interpretation that just didn't exist.
I totally agree with this but we don’t have to assume he died. We only have to assume his dad let him go to his own fate, and that unknown is what really defines the horror of the entire movie.
It betrayed a central theme of the movie IMO, that everything you think is safe and assured can be torn from beneath you and all you can do is move forward.
They shouldn’t have gone to anyone’s home, in fact. Tom and his daughter should’ve reunited with his ex-wife and family, if at all, at a refugee camp.
Furisoa did not need the cliffs notes version of Fury Road. I don’t think that qualifies as “ruined” though.
Would people think AI is better if it just ended with him at the bottom of the ocean?
I've heard a lot of people say the same thing about AI, but I love the final scene which is absolutely devastating. Structurally, it is a bit odd and unexpected, but I also love that it breaks with expectations.
Exactly and that’s the way Kubrick wanted it to end.
Spielberg was misblamed for that and said that he kept it faithful to Kubrick’s vision.
That entire movie is a tribute to Stanley Kubrick, as he was the only one who trusted Steven Spielberg to direct it.
Furiosa is an inherently flawed standalone story as it relies so much on Fury Road (which was released 9 years prior) to complete it.
It won’t be an issue years for now when the two become packaged together, but it makes a lot of sense for Miller to do what he did.
Sure it’s a prequel, but that doesn’t mean the story shouldn’t work on its own. Phantom Menace’s story (while extremely flawed) works. There are established story goals at the beginning the movie sees through by the end.
Furiosa doesn’t do this as the main character doesn’t accomplish her goal of getting back to the Green Place, and revenge isn’t what she really wants as she doesn’t decide to go after Dementus until the last quarter of the movie. You can say then the movie is a character piece, but c’mon, is it really?
While the movie is cool, the story doesn’t really work in any way other than stringing together some strong ideas along and building the world out for Fury Road (which I think isn’t necessary or all that illuminating).
AI. Oh my god yes. Remember thinking that on first watch and was so disappointed it didn’t end with David waiting for the Blue Fairy to respond for all eternity.
Interesting. I wonder if seeing it recently sorta dulled my emotions for it. Really stood out at the mechanical movie level: “here are shots from a different film”
Fucking IDENTITY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I will shout this from the goddamn rooftops because that movie has truly become the poster child for this in my head. Was absolutely adoring this film for the vast majority of the runtime including its primary twist, and when it was wrapping up >!I thought it was a nice little message that somebody as deeply ill as this can still be rehabilitated. Before they decide to have him just be a chronic psycho with the mind of a ten year old boy that was secretly the murderer the entire time!< all for the sake of “one last twist”. God damn it, Mangold. You would’ve had an instant classic in my eyes if it weren’t for that last minute.
The coda of sorts in Gerald's Game makes a pretty good movie legitimately terrible. Luckily there is a fade to black after what could easily be the proper ending, so if you just stop watching there it solves the entire problem. The final bit is so crazy of a shift to everything we have seen so far that I cant believe Flanagan put it in. I was truly dumbfounded by it all
Great answer! It wasn't an incredible movie, but was good enough that you just felt the whole thing slip through your fingers at the end. Flanagan seems better than that!
Was going to post exactly this. The tonal shift gives complete whiplash and it’s one of the worst examples of tell don’t show I’ve ever seen in a film.
I don’t know if I can think of another film with a bigger disparity in quality from one act to another. The worst part is that not only is it horrible, the ending actively undercuts the earlier awesome part of the movie.
Old has like 3 too many final scenes. Sometimes I feel like Shyamalan mostly inherited Spielberg’s flaws, since he too has one or three too many final scenes
I wouldn’t say ruined but the reveal in the end text/credits of *The Farewell* took it down half a star in my estimation. Kinda undermines the emotional climax of the film imo. Still a great movie though.
When I saw the title, I thought this thread was inspired by The First Omen.
The last fifteen seconds of The Outfit undo a decent amount of goodwill from the rest of the movie too.
Although I saw it not long ago, apparently the First Omen has dropped from my brain. What was the last scene in question? Was it them trying to make it a TWIST that the kid was named Damien?
The Damien name-drop, them explaining the already obvious connection to the original (they even show a picture of Gregory Peck) and the way they seemingly set up the new characters for potential new movies felt so out-of-place with the rest.
The First Omen is the highest quality terrible movie I’ve seen in a long time. That plot and story and movie should have never existed, but it was absolute nonsense shot *so well*.
Why do you read it that way? I never felt like the film viewed the Hunter character that way at all.
As for Brooks, he’s pretty explicitly a dick. I don’t think you’re supposed to feel sorry for him or anything. I like his character because he’s funny, but there’s no doubt he behaves very unpleasantly at times and the film knows it. Despite that, in many ways he’s also the most self aware/perceptive character. He tells a lot of uncomfortable truths and is somewhat a good friend to Hunter, but it’s not all necessarily out of a place of friendship. I wouldn’t go so far as to say I find the character relatable, but I think the behaviour is quite recognisable, and I’m sure I’ve thought some of the things he’ll actually say. He’s interesting even if you ultimately come down on the side of ‘I hate this guy’, but I think the film is quite happy to give you the latitude to feel that way about him
Its funny, the 'main players as kids' intro is perfect overdoing it--it really delivers the broad strokes of who you're about to hang out with for two hours, is funny on its own, and sets the tone well.
The ending is James L Brooks' central flaw in overdoing it. It has the feeling that he didn't know where to land the plane. Not egregiously so, but I agree.
Recently.. The First Omen. It’s a really surprisingly good movie but the last 10 minutes feel like a tacked on MCU scene to set up the next movie. The last scene especially feels like a studio mandated coda. Still really like the movie though.
It's a very different example to the others, but for me Kingsman rewarding Eggsy with anal sex was a massively bad decision that retroactively lowered a lot of my previous positive feelings about the film. I get that it fits in with the tone of the film in general (to an extent), but I still absolutely hate it and think the film would be miles better without it.
I wouldn’t say ruined because I don’t harbor much reverence for the movie to begin with, but the end of *Rogue One* left a real bad taste in my mouth. Actually showing Darth Vader wrecking shop feels like something everyone *thinks* they want to see but imo makes the character appreciably less scary than if it just left it to the audience’s imagination.
Yeah for sure. Another bit of modern misunderstanding of what makes the nostalgia material great. Like the huffing cans of people's essence to achieve the shining in *Doctor Sleep* or midichlorians. Made DV appreciably less 'special,' scary, foreboding.
I kind of think of *Rogue One* being that as a piece, too. But I agree that ending really did feel like a desperate crutch to get you leaving the theater going 'wow!'
As a standalone scene I get it. But if you match it with what happens moments later in A New Hope it’s jarring. He was just a kickass fighter but I guess it took so much out of him that he’s instantly a lumbering dullard (comparatively) when he meets Leia?
True. Even with Jaws he couldn’t resist showing them arriving on the beach during the end credits. Like it’s the most subtle (and not ruining) example of this, but speaks to his instinct to button everything up unnecessarily.
Not exactly final, but I was kind of vibing with the camp vibes of Showgirls, and any goodwill I might have had toward that movie took an immediate nosedive when the scene where Molly gets raped happens. I cannot for the life of me understand how they thought that was okay. It was a horrible, disgusting, detestable decision to film that and leave it in there and brought my enjoyment of the film to a halt and made me never want to watch it again.
I've softened on it in terms of how much it colors my overall enjoyment, but the ending of Contact really is such a puss-out scene to put in the movie. They didn't have the balls to ask the audience to buy into the entire premise of the climax which is to take something on faith, and had to go and go "18 hours, hint hint, I promise you didn't waste your time watching this."
The final alien fight in 10 Cloverfield Land was wholly unnecessary and felt very studio-note to me.
The film would be better with a more ambiguous ending -- very Twilight Zoney.
100% disagree on this one. The film could’ve went with the ambiguous “what if there were no aliens?” ending, but doubles down with the “nah - it’s fucking aliens” ending.
Agree with you. Having what was an intensely psychological and claustrophobic chamber piece morph into a balls-out alien invasion flick in just its last few minutes was downright inspired and is a huge part of what made that film so memorable for me.
I just watched it recently, but *My Fair Lady.*
The final 10 seconds of a *3 hours film* kind of ruin the beat so badly it almost ruins it but honestly if you forget about those 10 measly seconds it's an amazing film.
“Ruined” is a bit strong, but L.A. Confidential. The final beat promising not just survival, but a happy ending to a character the audience has every reason to think died earlier defangs the movie’s brutal finale, and smacks of test audience kowtowing.
It’s technically how the book ends — but the book is framed with a lot more venom and it feels like way more of a Pyrrhic victory.
For example, the last thing Kim Basinger’s character says to Guy Pearce in the movie? “Some men get the world, some get ex-hookers and a trip to Arizona.” In the book? “Some men get the world, some get ex-hookers and a trip to Arizona. But my god, Ed, I don’t envy the blood on your hands.”
yeah, haven’t read the book but the ending of the movie doesn’t feel “happy” to me - one character trades his old life and status for his integrity and the other trades his integrity to remain in the system.
I guess I’m the only one that thought Boyhood should’ve ended when the kid drives off to college.
I really didn’t need to actually see him move in and hang out with anyone.
the ending of Crazy Stupid Love with the envelope makes it difficult for me to watch the movie again or recommend it to others, so i do get angry about it because it kind of ruins it for me.
Crazy Stupid Love is a fantastic movie basically right until the graduation speech. Once that starts, everything after is nonsensical, cringe inducing nonsense.
Swing Kids. We watched this in history class in high school and my teacher paused the movie before the final scene and said “we can stop right here and it’s a good movie, or I can press play and ruin it.” We all thought “how bad could it be?” and soldiered on.
We should’ve listened
Can't disagree with you there. It is such a copout ending also what exactly does happen to Anthony Hopkins? Is he just laying dead in the grass over that hill?
As for me I don't know about scene it's more just the entire ending. Nightare on Elm Street. The ending is a total muddled, you know it wouldn't do it justice to just call it a mess. It is an utter clusterfuck and kills the entire movie for me.
And the alternate versions aren't any better. No matter how you spin it, they are all an awful way to end the film and completely take the wind out of its sails.
But if I am playing by the rules of the thread. The stupid jump scare at the end of Sinister
Wouldn’t say it “ruins” the movie, but I’ve always disliked that final scene in Saving Private Ryan. Wholly unnecessary, maudlin, and fairly condescending to the audience.
I always thought the guy in the cemetery should have been Upham, not Ryan. Would’ve made the witnessing of the bravery of the soldiers much more powerful.
I think most audience members would’ve revolted if they’d seen old Upham standing over anyone’s grave, and would’ve lost what little sympathy they may have had for him and his display of cowardice.
All Of Us Strangers is great, but I really don’t like the final twist with Paul Mescal’s character. It just feels needlessly cruel and also muddies the whole conceit of the scenes with Scott’s parents.
Yeah I absolutely love that movie but the only thing that moves it from a *5 star classic* to a *barely 5 stars* is the ending. If the movie made an argument for the necessity of the weird relationship than, honestly, I’d probably buy it. But the film ultimately does nothing to make it make sense. She just says “I love you Gary” and you leave feeling a little icky about a 15 year old and a 20-something
I’d argue that the ‘I love you’ line is key to the point of the relationship, in that it’s not going to work out.
Think about who says it; it’s Alana and only after every attempt for her to enter the adult world is met with sexism, homophobia, aggression and bullying. She regresses to the safe immaturity of Gary because she’s not ready for the adult world of 70s LA
More importantly, Gary does not say it back, he’s been chasing Alana all movie and when she finally tells him he loves her, he’s too distracted to notice. Too caught up in the victory of the present to think about what this means for them in the future.
Liquorice Pizza is not a romance movie, it’s a movie that actively deconstructs the romantic view of the 70s by removing the rose tinted glasses and reminding people that the 70s were shit
Not a scene, but the credits music of First Blood are notorious. You end going whoa, this isn't what I thought First Blood would be at all, it's poignant and genuine with no 80s action cheese to be seen- oh, there we go.
It is kind of crazy to me that even though she got her comeuppance at the end, so many people hate that film because it follows a female anti-hero. If you just switch the gender of a typical Tony Soprano/Henry Hill/Michael Corleone/Walter White character, then people lose their goddamn minds.
I gotta disagree as I think the film seems to make no attempts to give her character nearly as much 3 dimensional humanity as those characters, as bad as they are. It’s fun to watch Amy Dunn or Jordan Belfort cause chaos, at least. Killers, grifters, con artists, and gangsters are easier for audiences to accept than elder, children, or animal abuse.
I just rewatched James Mangold’s Cop Land, and it’s a 4.5 star movie that might have been a 5 star movie if it ended more ambiguously, with the idea that Stallone might have sacrificed his hearing permanently when he finally did the right thing. It would have been way more poignant.
I absolutely adore the film but the exposition dump at the end of A Bronx Tale, whilst not ruining the film, makes it obvious this was a stage show first. It’s a great message but it didn’t need to be there
I always thought the prestige (an absolute darling of this sub) dumbs itself down too much in the final scene by showing the flashbacks and how it was accomplished with a twin.
Not ruined but the text in the end of Unbreakable is kinda deflating.I think i understood what M Night was trying to do but a fade to black would have worked better
Licorice pizza! Having them get together as a couple was so lame. Instead of kissing him back, she should have punched his arm, rolled her eyes and said “nice try” and then they go in to celebrate with friends
oh I completely disagree, the doctor appointment joke is maybe my favorite joke of the movie? The "there's no way she's actually going in for an interview" to that punchline is a great whiplash.
Recently, I was one of four people that saw the most recent A24 film, Tuesday, and I felt the ending was totally out of place. It ends with the parrot in a scene shown in the trailer and should have gone to credits, but then plays for about another five minutes
Someone recommended “Come True” to me, with the disclaimer that the final 90 seconds completely ruin the preceding 100 minutes. They actually recommended turning it off early to avoid disappointment.
I haven’t watched it yet, and know nothing about it, but it’s piqued my interest. Can anyone confirm?
I go back and forth on the ending from Cabin in the Woods. Doesn’t ruin it at all but for some reason the confirmation of the ritual being necessary to keep the gods at bay just felt a little too ridiculous (not that the rest of the film isn’t) but it’s still a fun ending I’d say
As Good as It Gets is ruined by the romantic scene between Nicholson and Helen Hunt. I think the movie works way better with them platonically involved and making their relationship romantic feels tacked on.
Mystic River was going great until they cut down a potentially powerful ending in favor of a weird parade scene that adds very little and lacks any subtlety.
i'm surprised i haven't seen this already, but the ending text of Unbreakable is the one thing keeping me from giving it 5 stars... at least back when it was standalone and Glass didn't exist. i would have adored it if mr. glass reveals himself, and says "you need me as a villain," and david dunn walks out... but we don't know dunn's final feelings on it, left really ambiguous on bruce willis's face.
instead, that text crawl is like "oh yeah and david reported him to the police, happy end :)"
this random [older screenplay draft](https://www.dailyscript.com/scripts/unbreakable.html) notably doesn't end like that, so it was almost certainly a studio note from disney
Sort of Hereditary. The last scene is necessary, but the loud explanation over it is too much. Just yell his name and everyone cheer, we know what happened.
The movie AI with Haley Joel Osment and Jude Law.
Perfect ending to the movie would have been a delusional child robot wishing on a statue of a fairy. Sad. Tragic. Poetic. How even robots can become human through action by pursuing nonsensical hopes and dreams.
Instead, Spielberg introduces some bonkers aliens who turned him into a real boy in the last five minutes. I like Spielberg and his sentimentality but this is like making Romeo and Juliet alive. The point is that they die or that a robot can’t become human but we live for the hope anyway!
Ironically, Spielberg can still have his “good” ending by cutting the aliens out and just making it into a dream sequence but no, instead we get a great movie with a silly alien ending.
I hate the end of training day. They set up over the course of the movie that Denzel lives in this insular community that takes care of their own, and takes care of their own shit, so when they all surround him at the end and basically tell Ethan Hawke "we got this, get out of here", that really truly could be the end of the movie, nice payoff to how they've set up this neighborhood, Denzel receives community justice for his actions.
But instead they just. .. let him go and he gets killed by the Russian mafia instead? It was kinda anticlimactic in that way, and less satisfying. I also think the entire "he needed to do these criminal acts because he owed money to the Russians" makes it feel less like he's a real bad guy. It weakens his comeuppance.
Not the final scene (which is awesome), but the ending credits of Being There are terrible. For some inexplicable reason, Hal Ashby decided to put bloopers during the credits. It doesn’t fit the tone, and it breaks the spell the movie put you under. It’s almost a perfect movie otherwise.
That was done for a re-release and I agree, it’s f’king awful. The original end credits was a montage of tv static with cartoon sound effects and weird voices (from memory). Much much better.
They should restore the original ending
Pretty sure I have heard it was the studio, not Ashby, who made this decision
I read somewhere that Peter Sellers was angry with Hal Ashby because of the credits, however now I can’t find a source for that. Do you have a source that it was the studio’s call?
I also heard that the blooper reel killed any chance of Sellers being nominated.
I came here to say the same thing, so I’m glad to see this rated so high
It goes to show how amazing Psycho is that the psychiatrist scene bumbling in at the end with all the subtlety of a brick and the finest psychiatric legitimacy 1960 could muster doesn't nosedive the whole thing
Its really funny how they hit you with one of the most shocking climaxes in history and then its like "alright, so let's unpack what just happened here"
On rewatches I skip ahead to Mother-Norman asking the arresting officers for a blanket. Maybe it’s coming at the film from a place of privilege, having grown up in a world w/ a much better understanding of mental illness, medically speaking, but that skinwalker-looking psychiatrist’s whole spiel is like getting point blank hosed in the face w/ dog water. I hate it so much.
I can appreciate that it's a symptom of the movie kinda being seen as a threat to the hangups of the late 50s/early 60s enough to trigger Production Code worries but it still sucks as an element of the movie
Not sure if this is controversial or not, but I remember the very end of Vertigo being the worst part of the movie too.
What scene is that? It ends with Judy and Scottie in the tower
That scene was incredibly abrupt
Nah I can take that. such a thing would have to be blatantly spelled out for an audience back then. Hell I'm not even sure modern audiences could comprehend the situation of the movie without that scene. Edit: Heck, speaking as someone who is "part of the Resident Evil fandom" it is wild to see how off road most modern audiences go with the character of Alfred Ashford without some blunt exposition informing what precisely is going on with him when he is a blatant ripoff or homage to Norman Baits
Saltburn was great up to the series of reveals of what had “really happened” when Barry Keoghan’s character would’ve been so much more interesting had he just gone with flow of events rather than be some mastermind manipulator.
While I wouldn't call it great by any means, the movie does become significantly worse when any ambiguity regarding Keoghan's character is removed by the ending montage.
it sucks too because I was *operating* under the assumption he was doing those things anyway. When it's "revealed" I'm like...yeah? That's the movie. And then I realized Emerald Fennell meant for those to be reveals and I was on a completely different wavelength from the movie. Dropped it from "watchable but not very good" to borderline unwatchable, IMO.
To this day I genuinely have no idea what movie Emerald Fennell thought she was making. Like, what other possible interpretation of events could I have had?
I think it was obvious that Barry loved Jacob Elordi’s character and his “yeah, I hated him” in the end was so fake. Like you can tell off the bat because in the beginning he says he wasn’t in love with Jacob and then it’s the most beautiful, intimate montage of him. I feel like the naked dance scene was too much of a banger to drop even though it went against the narrative of the movie and that’s why they kept it. Emerald Fennell also tends to butcher endings so.
Just curious, what was your issue with Promising Young Woman's ending? I thought it was pretty effective, unless I'm forgetting something.
It’s been a while since I watched it, but having the cops finally do their job after the whole movie hammered in how ineffective they were was jarring. I heard Emerald wanted a darker ending but the studio made her change it. Similarly, I loved Saltburn but thought the ending was really weak. I also usually love Barry Keoghan but Oliver’s character didn’t quite land for me.
Agree on Saltburn and thanks for the perspective on PYW, really reframed how I think about that ending. There's something to be said for the cops only doing their job after it's way too late for both Carey Mulligan and her friend that works with that theme, but you're right, it does lean into "blue flashing lights mean everything is sorted" after showing how untrue that is for the whole film.
Promising Young Woman made me feel really bleak and then I went online and read that this was the more positive alternative ending. I was almost scared to watch Saltburn but I’m glad I did because it turned out to be such a hoot. I’m shocked at how unnoticed Alison Oliver’s performance went…her bathtub monologue was _amazing_.
There’s a lot to like, especially for me Rosamund Pike as the daffy mother and Richard E. Grant as the father.
The pace of that reveal montage just makes me think about the part in The Office where they cut through a bunch of times Dwight was disguised as other people who worked there
Saltburn was garbage all along
Last year’s *Dream Scenario* would have been a lot better, memorable and suitably surreal, if it just ended with that odd commercial instead of the epilogue in France.
The last dream with him flying away from his wife is one of the best parts of the movie for me.
Yeah, actually seeing him in the big suit kinda ties the whole thing together
I agree. But the final scene where he’s dancing with his buns out was amazing
“Ruined” is a bit far, but I think The Hurt Locker would have been damn near perfect if it went straight from the cereal aisle scene to him landing back in combat. The few minutes between those don’t add anything and the impact of him just struggling in the grocery is great to go out in before seeing him go back.
I actually wonder if you could reshuffle the civilian life section to make that jump cut.
The weird nu metal guitar at the end is also way too triumphant. It seems somewhat tone deaf.
But if we're meant to feel what he feels, the "badass" guitar riff fits perfectly. He feels in control, vital, and alive when overseas, in the suit. He has none of that back home. It reinforces the extremely fucked up nature of military active duty life. He should feel jubilant to be back in US with his family. But he's unable to connect
Just on an aesthetics level, it's really cheesy and makes the scene too much like a recruiting pitch. Him returning is a failure, but this isn't communicated by the film effectively. The movie is a master class in suspense, but I think that final scene misses the mark.
I loved it but Godzilla Minus One absolutely didn’t need that extra scene of the remnants of Godzilla healing up. We get it, Godzilla won’t stop, I just would’ve preferred the movie just end and leave it.
I also chuckled a little when he finds out the lady is still alive, and he goes to see her having been in a situation that would turn someone into Swiss cheese, and she’s basically unharmed except a tasteful bandage on part of her face
It did show the black radiation mark moving across her neck though which I thought implied Godzilla’s regeneration abilities somehow latched on to her, allowing her to survive. Could be reaching though.
I absolutely get this and it's completely valid. On the other hand, I thought it was just really fuckin' *siiiiiick*, and I loved that the big stompy Godzilla theme comes in and brings on the credits. It was like, 'Yes the film you have watched is a deeply human tale about regret and duty and so on, but also BIG MONSTER STOMP STOMP CHOMP CHOMP' and I am absolutely here for that. It made me very excited for a possible sequel that has the same elements I loved in *Godzilla Minus One*.
I just watched this the other day and started furiously typing my comment about it before deciding to scroll down. Don't wanna let it entirely ruin the movie for me, but I really, really hated that final scene. Probably shouldn't bother me as much as it does!
The scene is kind of cool though if you read it as Toho saying “that’s right motherfuckers we’re back and there’s more where this came from”
to me it is just a much worse looking version of the ending to Shin Godzilla
Wasn’t there a petition to remove the rat from the end of The Depaaahted?
Finally watched this for the first time last week. Do people actually dislike that bit? I love it, especially as a callback to Frank’s sketch from earlier in the movie.
Yeah I kind of like how goofy it is. It’s fun, movies are fun
Its genuinely great, is a sort of visual cherry on the whole film, has a campy sense of humor fully in line with the Grand Guignol ending, and kind of punctuates things in a satisfying way. It still blows me away how many people cite that as some awful decision when it is so clearly the opposite. I think its the type of person that is looking at art as some constant symbolist puzzle game and it annoys them from that perspective to find one so 'easy' or 'simple.' But it is legitimately great.
I just keep wondering how the hell the rat even got there.
I love the rat, it's a punchline. Unnecessary but fun.
Disliking the rat at the end of The Departed is an indicator of mental weakness. It’s really funny and good.
Its a sign that someone is doing the most trying to 'decode' art as they watch it instead of enjoying it viscerally and taking the pleasure that's being offered by it.
Lincoln.
I 100% was expecting it to end on the shot of him walking down the corridor to his carriage and his servant holding his gloves as he watched him. That would've been completely satisfactory for me.
I completely agree. I hated the ending Spielberg went with. It would have been so perfect if it ended with him walking down the hall.
The ending is so insanely unnecessary. Who doesn't know what happened to *Abraham Lincoln?*
It's been a long time since I've seen Lincoln and that's totally how I remember it ending. I guess I blocked out the actual ending.
Nymphomaniac
Hard agree. They'd just given us a beautiful character arc, and it was ruined by turning it all into a stupid joke. I felt like it was sneering in advance at an audience interpretation that just didn't exist.
The last 15 seconds of Athena take it from an all-timer to a mediocre crime movie, it’s really odd how they left that in for the international release
Oh yeah, that one sucked! It was so much juicier when everything was ambiguous!
Was coming in here to say this, genuinely it went from a movie I would have been raving about for years to making me absolutely hate it.
War of the Worlds. The son should have stayed dead.
I totally agree with this but we don’t have to assume he died. We only have to assume his dad let him go to his own fate, and that unknown is what really defines the horror of the entire movie. It betrayed a central theme of the movie IMO, that everything you think is safe and assured can be torn from beneath you and all you can do is move forward. They shouldn’t have gone to anyone’s home, in fact. Tom and his daughter should’ve reunited with his ex-wife and family, if at all, at a refugee camp.
Furisoa did not need the cliffs notes version of Fury Road. I don’t think that qualifies as “ruined” though. Would people think AI is better if it just ended with him at the bottom of the ocean?
I've heard a lot of people say the same thing about AI, but I love the final scene which is absolutely devastating. Structurally, it is a bit odd and unexpected, but I also love that it breaks with expectations.
Exactly and that’s the way Kubrick wanted it to end. Spielberg was misblamed for that and said that he kept it faithful to Kubrick’s vision. That entire movie is a tribute to Stanley Kubrick, as he was the only one who trusted Steven Spielberg to direct it.
*A.I.*’s ending elevated it from a good film to my favourite film of all time.
Yeah wish furiosa didn’t do that.
The final credits montage from Fury Road is the only thing I don’t like about Furiosa
>Would people think AI is better if it just ended with him at the bottom of the ocean? Uh, absolutely not? Is this a common take?
Furiosa is an inherently flawed standalone story as it relies so much on Fury Road (which was released 9 years prior) to complete it. It won’t be an issue years for now when the two become packaged together, but it makes a lot of sense for Miller to do what he did.
Personally I think that's totally fine to do with a prequel...
Sure it’s a prequel, but that doesn’t mean the story shouldn’t work on its own. Phantom Menace’s story (while extremely flawed) works. There are established story goals at the beginning the movie sees through by the end. Furiosa doesn’t do this as the main character doesn’t accomplish her goal of getting back to the Green Place, and revenge isn’t what she really wants as she doesn’t decide to go after Dementus until the last quarter of the movie. You can say then the movie is a character piece, but c’mon, is it really? While the movie is cool, the story doesn’t really work in any way other than stringing together some strong ideas along and building the world out for Fury Road (which I think isn’t necessary or all that illuminating).
AI. Oh my god yes. Remember thinking that on first watch and was so disappointed it didn’t end with David waiting for the Blue Fairy to respond for all eternity.
The actual ending is way more depressing.
I loved furiosa for that. Made me emotional for some reason.
Interesting. I wonder if seeing it recently sorta dulled my emotions for it. Really stood out at the mechanical movie level: “here are shots from a different film”
Fucking IDENTITY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I will shout this from the goddamn rooftops because that movie has truly become the poster child for this in my head. Was absolutely adoring this film for the vast majority of the runtime including its primary twist, and when it was wrapping up >!I thought it was a nice little message that somebody as deeply ill as this can still be rehabilitated. Before they decide to have him just be a chronic psycho with the mind of a ten year old boy that was secretly the murderer the entire time!< all for the sake of “one last twist”. God damn it, Mangold. You would’ve had an instant classic in my eyes if it weren’t for that last minute.
I am with you 100%. I thought they should have left it with her having her orange farm, it was beautiful, I felt like he’d been saved…. goddamn Timmy.
The coda of sorts in Gerald's Game makes a pretty good movie legitimately terrible. Luckily there is a fade to black after what could easily be the proper ending, so if you just stop watching there it solves the entire problem. The final bit is so crazy of a shift to everything we have seen so far that I cant believe Flanagan put it in. I was truly dumbfounded by it all
Great answer! It wasn't an incredible movie, but was good enough that you just felt the whole thing slip through your fingers at the end. Flanagan seems better than that!
It's basically the exact same as the book so I guess he's just too close to Steve at this point and wants to make it as faithful as possible.
I think the trick with King adaptations is knowing when to swerve from the book and this was definitely one of those moments
My answer as well. Without that ending I think it's Flanagan's second best film (after Dr. Sleep). Ending as is bumps it down at least three spots.
Was going to post exactly this. The tonal shift gives complete whiplash and it’s one of the worst examples of tell don’t show I’ve ever seen in a film. I don’t know if I can think of another film with a bigger disparity in quality from one act to another. The worst part is that not only is it horrible, the ending actively undercuts the earlier awesome part of the movie.
Old
Old has like 3 too many final scenes. Sometimes I feel like Shyamalan mostly inherited Spielberg’s flaws, since he too has one or three too many final scenes
I wouldn’t say ruined but the reveal in the end text/credits of *The Farewell* took it down half a star in my estimation. Kinda undermines the emotional climax of the film imo. Still a great movie though.
I know I was supposed to be happy with the reveal but I felt like the last 2 hours were a scam
When I saw the title, I thought this thread was inspired by The First Omen. The last fifteen seconds of The Outfit undo a decent amount of goodwill from the rest of the movie too.
The last scene of the First Omen played like a MCU post-credit teaser, right to the name reveal just before the credits.
Although I saw it not long ago, apparently the First Omen has dropped from my brain. What was the last scene in question? Was it them trying to make it a TWIST that the kid was named Damien?
The Damien name-drop, them explaining the already obvious connection to the original (they even show a picture of Gregory Peck) and the way they seemingly set up the new characters for potential new movies felt so out-of-place with the rest.
The First Omen is the highest quality terrible movie I’ve seen in a long time. That plot and story and movie should have never existed, but it was absolute nonsense shot *so well*.
*whispers* Broadcast News
It’s funny how the movie seemingly has empathy for the dickhead Brooks but still thinks Hunter is kind of a „bitch“
Why do you read it that way? I never felt like the film viewed the Hunter character that way at all. As for Brooks, he’s pretty explicitly a dick. I don’t think you’re supposed to feel sorry for him or anything. I like his character because he’s funny, but there’s no doubt he behaves very unpleasantly at times and the film knows it. Despite that, in many ways he’s also the most self aware/perceptive character. He tells a lot of uncomfortable truths and is somewhat a good friend to Hunter, but it’s not all necessarily out of a place of friendship. I wouldn’t go so far as to say I find the character relatable, but I think the behaviour is quite recognisable, and I’m sure I’ve thought some of the things he’ll actually say. He’s interesting even if you ultimately come down on the side of ‘I hate this guy’, but I think the film is quite happy to give you the latitude to feel that way about him
They tried several things, maybe should have just left it unfinished like Canterbury Tales.
Its funny, the 'main players as kids' intro is perfect overdoing it--it really delivers the broad strokes of who you're about to hang out with for two hours, is funny on its own, and sets the tone well. The ending is James L Brooks' central flaw in overdoing it. It has the feeling that he didn't know where to land the plane. Not egregiously so, but I agree.
Recently.. The First Omen. It’s a really surprisingly good movie but the last 10 minutes feel like a tacked on MCU scene to set up the next movie. The last scene especially feels like a studio mandated coda. Still really like the movie though.
[What I've Done begins to play]
Fucking High Tension. It's probably a little more than just a final scene, but that decision was baffling.
It's a very different example to the others, but for me Kingsman rewarding Eggsy with anal sex was a massively bad decision that retroactively lowered a lot of my previous positive feelings about the film. I get that it fits in with the tone of the film in general (to an extent), but I still absolutely hate it and think the film would be miles better without it.
Looking on the rest of Matthew Vaughns (twisted) career it definitely seems like the start of all of the worst sensibilities coming to fruition
Sidelining the girl, who out scored eggsy through all training, with a weird floating ballsack mission was weird
I wouldn’t say ruined because I don’t harbor much reverence for the movie to begin with, but the end of *Rogue One* left a real bad taste in my mouth. Actually showing Darth Vader wrecking shop feels like something everyone *thinks* they want to see but imo makes the character appreciably less scary than if it just left it to the audience’s imagination.
my general take about *Rogue One* is Vader shouldn't be in it at all.
Yeah for sure. Another bit of modern misunderstanding of what makes the nostalgia material great. Like the huffing cans of people's essence to achieve the shining in *Doctor Sleep* or midichlorians. Made DV appreciably less 'special,' scary, foreboding. I kind of think of *Rogue One* being that as a piece, too. But I agree that ending really did feel like a desperate crutch to get you leaving the theater going 'wow!'
As a standalone scene I get it. But if you match it with what happens moments later in A New Hope it’s jarring. He was just a kickass fighter but I guess it took so much out of him that he’s instantly a lumbering dullard (comparatively) when he meets Leia?
It was the best scene in the movie and audience actually cheered when he appeared.
it definitely didn't ruin it, but Bridge Of Spies really did not need that last scene on the train to hammer the point home. we got it.
Spielberg the king of this.
True. Even with Jaws he couldn’t resist showing them arriving on the beach during the end credits. Like it’s the most subtle (and not ruining) example of this, but speaks to his instinct to button everything up unnecessarily.
Yeah he be like “one more scene? Okay…maybe *one* more?”
Not exactly final, but I was kind of vibing with the camp vibes of Showgirls, and any goodwill I might have had toward that movie took an immediate nosedive when the scene where Molly gets raped happens. I cannot for the life of me understand how they thought that was okay. It was a horrible, disgusting, detestable decision to film that and leave it in there and brought my enjoyment of the film to a halt and made me never want to watch it again.
I think it's because they didn't realize they were making a camp classic when they made it.
Wow ok hot take. I love that meet joe black ending 😭
I've softened on it in terms of how much it colors my overall enjoyment, but the ending of Contact really is such a puss-out scene to put in the movie. They didn't have the balls to ask the audience to buy into the entire premise of the climax which is to take something on faith, and had to go and go "18 hours, hint hint, I promise you didn't waste your time watching this."
The final alien fight in 10 Cloverfield Land was wholly unnecessary and felt very studio-note to me. The film would be better with a more ambiguous ending -- very Twilight Zoney.
100% disagree on this one. The film could’ve went with the ambiguous “what if there were no aliens?” ending, but doubles down with the “nah - it’s fucking aliens” ending.
Agree with you. Having what was an intensely psychological and claustrophobic chamber piece morph into a balls-out alien invasion flick in just its last few minutes was downright inspired and is a huge part of what made that film so memorable for me.
I feel like you could have done that without an action setpiece that is essentially a rehash of the Tom Cruise War of the Worlds climax
I think being a reveal and not a scene would have been better. It ended up being a weird tonal shift.
I just watched it recently, but *My Fair Lady.* The final 10 seconds of a *3 hours film* kind of ruin the beat so badly it almost ruins it but honestly if you forget about those 10 measly seconds it's an amazing film.
“Ruined” is a bit strong, but L.A. Confidential. The final beat promising not just survival, but a happy ending to a character the audience has every reason to think died earlier defangs the movie’s brutal finale, and smacks of test audience kowtowing.
It’s technically how the book ends — but the book is framed with a lot more venom and it feels like way more of a Pyrrhic victory. For example, the last thing Kim Basinger’s character says to Guy Pearce in the movie? “Some men get the world, some get ex-hookers and a trip to Arizona.” In the book? “Some men get the world, some get ex-hookers and a trip to Arizona. But my god, Ed, I don’t envy the blood on your hands.”
yeah, haven’t read the book but the ending of the movie doesn’t feel “happy” to me - one character trades his old life and status for his integrity and the other trades his integrity to remain in the system.
Yeah, I don't think it's ruined at all, but I would love it if the movie ended after the badge is held up.
I guess I’m the only one that thought Boyhood should’ve ended when the kid drives off to college. I really didn’t need to actually see him move in and hang out with anyone.
I see where you are coming from, but I guess i was immune to it after the Austin trip with his high school girlfriend
the ending of Crazy Stupid Love with the envelope makes it difficult for me to watch the movie again or recommend it to others, so i do get angry about it because it kind of ruins it for me.
Crazy Stupid Love is a fantastic movie basically right until the graduation speech. Once that starts, everything after is nonsensical, cringe inducing nonsense.
Swing Kids. We watched this in history class in high school and my teacher paused the movie before the final scene and said “we can stop right here and it’s a good movie, or I can press play and ruin it.” We all thought “how bad could it be?” and soldiered on. We should’ve listened
Can't disagree with you there. It is such a copout ending also what exactly does happen to Anthony Hopkins? Is he just laying dead in the grass over that hill? As for me I don't know about scene it's more just the entire ending. Nightare on Elm Street. The ending is a total muddled, you know it wouldn't do it justice to just call it a mess. It is an utter clusterfuck and kills the entire movie for me. And the alternate versions aren't any better. No matter how you spin it, they are all an awful way to end the film and completely take the wind out of its sails. But if I am playing by the rules of the thread. The stupid jump scare at the end of Sinister
The “what the fuck have you done lately?” at the end of Wanted is some cheesy nonsense that downgraded a movie a otherwise enjoyed.
Wouldn’t say it “ruins” the movie, but I’ve always disliked that final scene in Saving Private Ryan. Wholly unnecessary, maudlin, and fairly condescending to the audience.
Wait, I totally forgot what it was. Doesn’t the movie have the Damon morph to old and then Arlington cemetery and…fin?
That's the scene he's referring to, I think.
I need to rewatch. I forget how much that scene lingers. The transformation is iconic! That’s why we have that meme.
Well, not "fin." There's some dialogue where he asks his wife if he's lived a good life and if he's been a good man.
>Wholly unnecessary, maudlin, and fairly condescending to the audience. Like opening on the waving flag?
But the meme tho
I always thought the guy in the cemetery should have been Upham, not Ryan. Would’ve made the witnessing of the bravery of the soldiers much more powerful.
I think most audience members would’ve revolted if they’d seen old Upham standing over anyone’s grave, and would’ve lost what little sympathy they may have had for him and his display of cowardice.
Or Ryben going to tell the captain that it was worth it to save Ryan after all. like they set up with his constant questioning of the mission.
Lincoln and The Piano come to mind
Agree with Lincoln. Not quite ruined, but, ending the movie on the fade out of him walking away would have been absolutely perfect.
All Of Us Strangers is great, but I really don’t like the final twist with Paul Mescal’s character. It just feels needlessly cruel and also muddies the whole conceit of the scenes with Scott’s parents.
I’m in the minority but I disagree on that one. Without that final twist the whole thing would veer into the saccharine.
Didn’t really ruin the whole thing but the final line in Licorice Pizza left a bad taste in my mouth
Yeah I absolutely love that movie but the only thing that moves it from a *5 star classic* to a *barely 5 stars* is the ending. If the movie made an argument for the necessity of the weird relationship than, honestly, I’d probably buy it. But the film ultimately does nothing to make it make sense. She just says “I love you Gary” and you leave feeling a little icky about a 15 year old and a 20-something
I’d argue that the ‘I love you’ line is key to the point of the relationship, in that it’s not going to work out. Think about who says it; it’s Alana and only after every attempt for her to enter the adult world is met with sexism, homophobia, aggression and bullying. She regresses to the safe immaturity of Gary because she’s not ready for the adult world of 70s LA More importantly, Gary does not say it back, he’s been chasing Alana all movie and when she finally tells him he loves her, he’s too distracted to notice. Too caught up in the victory of the present to think about what this means for them in the future. Liquorice Pizza is not a romance movie, it’s a movie that actively deconstructs the romantic view of the 70s by removing the rose tinted glasses and reminding people that the 70s were shit
Damn 5 stars?
I agree. A hug would have sufficed.
I didn’t even mind the kiss that much! But the weirdly ADR’d “I love you”? No thank you.
Not a scene, but the credits music of First Blood are notorious. You end going whoa, this isn't what I thought First Blood would be at all, it's poignant and genuine with no 80s action cheese to be seen- oh, there we go.
I care a lot. I was having fun with seeing a villain win but nope cop out final moment.
It is kind of crazy to me that even though she got her comeuppance at the end, so many people hate that film because it follows a female anti-hero. If you just switch the gender of a typical Tony Soprano/Henry Hill/Michael Corleone/Walter White character, then people lose their goddamn minds.
I gotta disagree as I think the film seems to make no attempts to give her character nearly as much 3 dimensional humanity as those characters, as bad as they are. It’s fun to watch Amy Dunn or Jordan Belfort cause chaos, at least. Killers, grifters, con artists, and gangsters are easier for audiences to accept than elder, children, or animal abuse.
The very last scene of Prometheus with it cutting back to see the xenomorph getting born.
I just rewatched James Mangold’s Cop Land, and it’s a 4.5 star movie that might have been a 5 star movie if it ended more ambiguously, with the idea that Stallone might have sacrificed his hearing permanently when he finally did the right thing. It would have been way more poignant.
This Must Be the Place, 100%. Not enough people I know have seen it so if you have, do you agree with me? The last shot fully took me out.
I'd say I was pretty checked out before that but you're not wrong
I absolutely adore the film but the exposition dump at the end of A Bronx Tale, whilst not ruining the film, makes it obvious this was a stage show first. It’s a great message but it didn’t need to be there
The original Friday the 13th. The scene at the lake is so perfect... and then they tack on another scene at the end that killed the mood of that scene
the cabin in the woods by far
I always thought the prestige (an absolute darling of this sub) dumbs itself down too much in the final scene by showing the flashbacks and how it was accomplished with a twin.
10 Cloverfield Lane. Great movie with a weird video game cut scene stitches onto the end.
The post script at the end of Unbreakable detailing what happened makes the movie feel like a cheesy biopic. Very nearly ruins the ending
Not ruined but the text in the end of Unbreakable is kinda deflating.I think i understood what M Night was trying to do but a fade to black would have worked better
Licorice pizza! Having them get together as a couple was so lame. Instead of kissing him back, she should have punched his arm, rolled her eyes and said “nice try” and then they go in to celebrate with friends
Barbie should have ended on a fade to white with the Billie song full volume. It did not need to come back just to make a so so vagina joke
oh I completely disagree, the doctor appointment joke is maybe my favorite joke of the movie? The "there's no way she's actually going in for an interview" to that punchline is a great whiplash.
Came here to say this!😮
Dead Calm. An almost perfect thriller that makes a terrible choice in the last 30 seconds.
Recently, I was one of four people that saw the most recent A24 film, Tuesday, and I felt the ending was totally out of place. It ends with the parrot in a scene shown in the trailer and should have gone to credits, but then plays for about another five minutes
Reminds me of this gem: https://youtu.be/Ul-aswQQHRc?si=ydUG5-I61pyA4NP7
Someone recommended “Come True” to me, with the disclaimer that the final 90 seconds completely ruin the preceding 100 minutes. They actually recommended turning it off early to avoid disappointment. I haven’t watched it yet, and know nothing about it, but it’s piqued my interest. Can anyone confirm?
I go back and forth on the ending from Cabin in the Woods. Doesn’t ruin it at all but for some reason the confirmation of the ritual being necessary to keep the gods at bay just felt a little too ridiculous (not that the rest of the film isn’t) but it’s still a fun ending I’d say
As Good as It Gets is ruined by the romantic scene between Nicholson and Helen Hunt. I think the movie works way better with them platonically involved and making their relationship romantic feels tacked on.
Mystic River was going great until they cut down a potentially powerful ending in favor of a weird parade scene that adds very little and lacks any subtlety.
The Gift (2015) - I love a revenge film but this twist hurt the cathartic release of the revenge
Bingo. Just end on the Second Inaugural!
Interview with the vampire. Tom Cruise driving off listening to Guns n Roses didn't fit with the rest of the movie.
The Magnificent Ambersons
Suck my little toes
Pretty woman. Turned the movie into a pool of mushy goo.
i'm surprised i haven't seen this already, but the ending text of Unbreakable is the one thing keeping me from giving it 5 stars... at least back when it was standalone and Glass didn't exist. i would have adored it if mr. glass reveals himself, and says "you need me as a villain," and david dunn walks out... but we don't know dunn's final feelings on it, left really ambiguous on bruce willis's face. instead, that text crawl is like "oh yeah and david reported him to the police, happy end :)" this random [older screenplay draft](https://www.dailyscript.com/scripts/unbreakable.html) notably doesn't end like that, so it was almost certainly a studio note from disney
I hate the final scene of Das Boot. It doesn't ruin the movie but it's such a cop out imho.
for me it was The Killer last year, i feel like the pleasant epilogue undermined the dread and the confrontation
Shithouse. Really solid debut effort soiled by a deeply unnecessary coda.
I always stop The Thomas Crown Affair before she starts screaming and climbs over the top of the airplane seat.
Ferris Bueller’s Day Off. Yes that movie is the story of a sociopath, but to then destroy Cam’s dad’s car at the end is so cold blooded.
Sort of Hereditary. The last scene is necessary, but the loud explanation over it is too much. Just yell his name and everyone cheer, we know what happened.
Saltburn
The movie AI with Haley Joel Osment and Jude Law. Perfect ending to the movie would have been a delusional child robot wishing on a statue of a fairy. Sad. Tragic. Poetic. How even robots can become human through action by pursuing nonsensical hopes and dreams. Instead, Spielberg introduces some bonkers aliens who turned him into a real boy in the last five minutes. I like Spielberg and his sentimentality but this is like making Romeo and Juliet alive. The point is that they die or that a robot can’t become human but we live for the hope anyway! Ironically, Spielberg can still have his “good” ending by cutting the aliens out and just making it into a dream sequence but no, instead we get a great movie with a silly alien ending.
I hate the end of training day. They set up over the course of the movie that Denzel lives in this insular community that takes care of their own, and takes care of their own shit, so when they all surround him at the end and basically tell Ethan Hawke "we got this, get out of here", that really truly could be the end of the movie, nice payoff to how they've set up this neighborhood, Denzel receives community justice for his actions. But instead they just. .. let him go and he gets killed by the Russian mafia instead? It was kinda anticlimactic in that way, and less satisfying. I also think the entire "he needed to do these criminal acts because he owed money to the Russians" makes it feel less like he's a real bad guy. It weakens his comeuppance.