![]() And you’ll hopefully see a few you’ve never heard of. You’ll also wonder (probably angrily) where some of the more iconic ones are. You’ll see some classic endings on this list. (You’d be amazed at how many scenes are remembered as being great endings that came well before the movie in question went to credits.) Still, there was no escaping our own unbound tastes and biases. And we were a bit flexible on what constituted an actual “ending”: a final shot, a final passage it just had to come at the end of the film. We prioritized a diversity of tone, origin, authorship, subject matter, and genre. Most significantly, we only considered one movie (feature length) per director, in part so Billy Wilder and Stanley Kubrick and Alfred Hitchcock titles didn’t swallow up the whole list. The idiosyncrasies piled up if the key to a good ending was a feeling, we’d surrender to impulse. We began with an absolute morass of nominations, hundreds of finales that stuck in at least one Vulture staff member’s maw. Our goal from the jump was never to determine a set formula for the Great Movie Ending. ![]() (Dark, uncertain, marked by a significant amount of human flailing.) Sometimes, we did go for the cathartic, bring-happy-tears-to-your-face finale, but we frequently found ourselves opining the sorts of stories that lack that release. Maybe that was a reflection of the times we were living. In compiling a list of the greatest endings in movie history, we had many arguments over many months about this very dynamic, and found ourselves drawn to certain types we deemed successful more than others: Ambiguous, dark endings endings that purported to explain something but secretly did not endings that denied us (and the characters) closure endings that featured people dancing, but not always in joyous, triumphant fashion. It is, arguably, the most important part of any film - how a filmmaker wants you to feel when the lights go up is often the key to what that picture was really about. The reverse is also true: We’ve all had that experience of watching a ho-hum flick that became instantly unforgettable thanks to an awesome conclusion ( famously, or more recently). Not every great movie has a great ending. All audiences can hope for in the well-underway sequel is more of these pulpy mysteries.Clockwise from left to right: Lust, Caution Moonlight Some Like it Hot The Last Days of Disco Beau Travail The Searchers Losing Ground Big Night Grave of the Fireflies The Thin Blue Line. Seeking Thrombey’s inheritance, grandson Ransom ( Chris Evans) offers a second twist with the revelation that it was him who mishandled his benefactor’s medicine, allowing the innocent Marta to assume Harlan’s wealth. The film then follows Marta’s attempts to cover her tracks, only for the real culprit to be revealed in the film’s final act. ![]() Johnson’s reversal of an Agatha Christie plot device was a twist in itself, stripping the film of its dramatic irony when Harlan Thrombey ( Christopher Plummer) slit his own throat to spare his housekeeper Marta ( Ana De Armas), who accidentally prescribed him a lethal dose of morphine. Not only was the supposed murder in question actually a suicide, but it occurred within the film’s first act, and showed audiences exactly who the suspected killer was (or so they thought). Rian Johnson’s 2019 take on the whodunnit tale was unique in its bending of the murder mystery formula.
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