Unpopular Endings, Okay…But With Integrity

The universal consensus is that William Brent Bell‘s The Devil Inside (Paramount, opening today) not only stinks, but delivers one of the most contemptibly awful endings of all time — cheap, stupid, audience-insulting.

“I can’t remember any time in my career as a movie critic when the crowd around me, winners of free tickets to see the movie before it was released, all started to boo,” writes Willie Waffle. “The ending for The Devil Inside was so bad and people were jeering so loudly you would have thought Mel Gibson just walked into the synagogue on Saturday.”

The Devil Inside is an insidious kind of terrible movie, a movie that is simply low-grade bad for most of its thankfully brief running time before offering up an ending so openly contemptuous of the audience as to feel like a prank,” writes Hitfix‘s Drew McWeeny.

“You can blame Satan for a lot of bad things, but not The Devil Inside,” writes Toronto Star critic Peter Howell.

It’s the spitting-on-the-audience aspect that seems to have hit the biggest nerve. This raises a question: what movies have ended “badly” (i.e., in ways that audiences have generally condemned) but which at least had integrity? They may have pissed people off but made some kind of thematic or artistic sense.

One of the most unpopular endings along these lines was the ending of Alfred Hitchcock‘s The Birds. I remember hearing about audiences groaning and howling when they realized that the final shot — a static view of Rod Taylor‘s green sports car driving into the hazy distance while thousands of birds sat around, waiting for the next impulse to attack — was the final shot. I get what 1963 audiences were pissed about, but from my 2012 perspective this might have been the coolest and most haunting ending of a Hitchcock movie ever.

What other films qualify in this regard? Deeply unpopular with Joe Popcorn, but on one level or another deserving of respect.

  • Eloi Wrath

    The ending to Shyamalan’s The Village was pretty controversial at the time. I remember McWeeny ripping it to shreds on AICN, saying similar stuff to what he’s saying about the Devil Inside. I didn’t think it was that bad at all.

  • gooddog

    Obviously the ending of the great “No Country for Old Men:”. “and then I woke up.”

  • Zach

    The ending to Take Shelter pissed me off a little.

  • Indeed

    From Joe Popcorn’s standpoint, No Country For Old Men is a pretty obvious example.

  • Indeed

    Christ – beaten by gooddog!

  • Ray

    Eloi, I think a big problem with the Village’s ending was that it was spoiled VERY early in production- AICN had it many months before it was released- and everyone who read it groaned at the thought that this was going to be the “twist” ending.

    I think it was better on film than on the page, but for a lot of geeks out there, the movie was already dead in the water.

    About unpopular endings…. I’m not sure it was unpopular, but I remember personally being PISSED at the ending of NO WAY OUT. How can our hero be the Russian spy??? He’s supposed to be the GOOD GUY? Did he never really love Sean Young???

    In hindsight it’s an AWESOME ending, and the movie is still one of the best. At the time, knee deep in my 1980s jingo phase, it pissed me off.

  • MrTribeca

    When I saw DAS BOOT, the audience didn’t take the ending at all well.

  • Ray

    Good example Tribeca.

    I can already see the trouble with this thread. There’s a difference between BAD endings that are at least honest and GOOD endings that are sad/downers. The latter can be unpopular with people expecting a happy ending, but that doesn’t make them a bad ending. The former however ARE bad endings, even if they have integrity to them.

    I just don’t know how to split the difference there. ???

  • Zach

    Also, the now-infamous ending to Inception. I thought it was perfect, but I still know people who complain about it.

  • cyanic

    Vanilla Sky

    I hate Inception’s ending

    Identity (2003)

  • MrTribeca

    Another recent example would be UP IN THE AIR.

    Man, I love that film. But I find that after I’ve enthusiastically recommended it to people, most come back saying “eh – didn’t like the ending.”

    Many don’t like that the fact that Clooney doesn’t walk off into the sunset with Farmiga. However, it’s mainly because they’re under the misapprehension that Clooney’s character hasn’t changed over the course of the film. That the man standing in front of the airport board at the end is no different from the one at the start.

  • twicks

    Admission: I am honestly having a hard time figuring out the ending of Young Adult.

    SPOILERS:

    After the debacle at the baby-naming and spending the night with Patton Oswalt, Mavis seems to arrive at the same conclusion as everyone else: “I need to change.”

    However, Oswalt’s sister then tells Mavis how great she is, she shouldn’t change, etc. Got it: Mavis is back to her old, self-destructive ways.

    BUT THEN, she’s finishing up the book in the diner, and her voiceover is saying that her lead character is off to a fresh new start. And the final shot of the movie is her looking disgustedly at the front of her smashed-up car. So…Mavis is going to change after all?

    I’m confused.

  • EricGilde

    Spoiler?

    As far as UP IN THE AIR goes, the only thing that pissed me off about it was more towards the end, when Clooney leaves the podium to go after Vera Farmiga. What a lame movie cliche. Nobody does that shit in real life. Finish the speech, cut it short even, but abruptly walking off in the middle?

    Lame lame lame.

    Not to say that this is on par with what Jeff is talking about, but I wasn’t a huge fan of the ending of the Artist. It seemed a little cheap and on the gimmicky side.

    I mean, I guess you could make that argument for other aspects of the film, so at least there’s continuity.

  • hiviper

    Meek’s Cutoff

  • BaxterPeanut

    The moment when Super 8 turned into Cloverfield. Although Joe Popcorn probably loved it.

  • CitizenKaned4Life

    NCFOM is the first recent example that popped into my head. I think you could probably make a good case for TWBB that same year, too (I think it could be a PT Anderson thing, too — lots of Eloi don’t really seem to appreciate the sheer complexity of the final shot of Boogie Nights due to…PENIS!).

    In my view, Kubrick always had great, great endings (Strangelove, The Killing, Clockwork, etc.) — but how did they actually play in theaters? I’m young enough that I only had had that experience with EWS, and I was kinda surprised by the dismissive snickering at the final line (for the record — I do think it’s supposed to be funny, but not in the way most people took it). Wasn’t the ending of 2001 kinda slammed by critics when it was released? Obviously, that’s changed — today it’s widely regarded as one of the more iconic final reels in modern cinema.

    Speaking of Stan, surprised no one’s mentioned A.I. yet in this thread — it seems to fit the above description to a tee.

  • thevisceral

    Does the no spoiler rule apply when everyone agrees an ending is stupid or does spoiling in that case constitute an act of mercy?

  • Super Soul

    Winner of all time: LIMBO

    Still cracks me up.

  • Bob_Roberts

    @Twicks At that point in the film, were you emotionally invested in the character enough to care? I personally didn’t like the movie at all, but found that the ambiguity of the ending was right for a movie that has a character have no emotional growth or character arc.

    My Nominee for craptacular ending is a tie for The Mist and War of the Worlds. Both movies have people fighting forces both “alien” and of intimate human nature and surviving. Between the insanely insulting “happy ending” of WotW and the murderous ending of The Mist, both movies are totally ruined by the last 2 minutes.

  • Super Soul

    twicks, my take on it was the she wasn’t going to change, she was going to double down on her old ways even though she was semi-aware that she was worse for the wear because of them.

  • CitizenKaned4Life

    An interesting counter-question to the one posed in this original post might be, “which endings seem to have gone over well with Joe Popcorn, but don’t really hold up too well on repeat viewings?”

    I would actually submit The Usual Suspects — which will probably seem blasphemous to at least half the people still following this thread.

  • twicks

    Makes sense.

    @Bob Roberts, I thought her monologue at the baby naming added some depth to her character, to the point where, yes, I wanted her to pull out of her downward spiral.

    Maybe I just don’t care for ambiguous endings, although the ending of Before Sunset is one of my favorites.

  • CitizenKaned4Life

    Sunrise or Sunset?

  • Zach

    Bob_Roberts: The ending to The Mist was hands-down the best part of the film, and one of the best endings of the last decade. I wish more films today would employ that kind of 70’s-esque bleakness. And War of the Worlds was insulting throughout; the happily-ever-after finale was Spielberg squeezing in one last middle finger to his audience, just for kicks.

    CitizenKaned4Life: At least A.I. attempts to do something outside the box with its ending. I have to begrudgingly respect it.

  • twicks

    Before Sunset…the ultimate “do they or don’t they” scene.

  • Bob_Roberts

    @Zach…your comments made me reconsider my comment. It is not so much the fact that he shoots the passengers in the car, but rather that the Army shows up, what felt like a millisecond after he did it. It FELT more like a “Gotcha” ending than it should have, which should have felt like the his character made a hellish choice and then his hell was made worse by the clearing of the Mist.

  • Eloi Wrath

    The Tree of Life ending seems to have a lot of critics, although those are mostly the online people who sat through the entire thing. Joe Popcorn probably didn’t make it that far.

  • Abbey Normal

    A word about why Up In The Air’s ending sucked:

    (spoliers)

    The problem is that the character arcs don’t fit with the ending’s big reveal. After it happened, I thought about all that had transpired leading up to it and felt cheated, not because it wasn’t a happy ending, but rather because it just didn’t add up.

    I mean, why would Farmiga conceal her marriage from Clooney? She has no reason to do so. He has made it abundantly clear he is anti-commitment. Maybe she thought initially when they met he wouldn’t sleep with her if he knew she was married, but she had to know very soon thereafter that he wouldn’t care in the slightest. Why perpetuate the subterfuge?

    That subterfuge makes less and less sense as the movie progresses. Farmiga is constructed by the screenplay as a person of substance, someone who is observant and brainy, with a good heart. And she obviously sees that Clooney is falling for her. So her continuing to lie to him simply doesn’t fit the character. We’ve been strongly led to believe she’s a certain person, and suddenly she becomes someone else completely. Her actions are downright vicious. She knows there is no future for them as a couple, but ends up pushing this man who she knows to be deeply troubled with a massive chip on his shoulder about his solitary identity, a man who has been nothing but truthful to her every step of the way, fall off the deep end.

    I suppose you could defend it by saying it’s some kind of meta-comment on how nobody really knows anybody, but c’mon. It’s just not a very well-executed bait-and-switch, and left me feeling let down by what I perceive as lazy storytelling.

  • PastePotPete

    Martha Marcy May Marlene. Saw it at the film festival here and the college-age crowd was totally into it. Abrupt 180 when it ended the way it did. They turned on that movie like it had slapped them in the face.

  • Ray

    I’m with Visceral- how come we get GOOD movies spoiled all the time here, but never the bad ones?

    How did THIS shit fest end that’s so bad?

  • Zach

    Bob_Roberts: That’s kind of why I love it… call me sadistic, but I love when characters get completely fucked over at the end, and just when you think things couldn’t possibly get any worse, something happens that takes it to a whole new level. Oldboy is another good example.

  • Floyd Thursby

    The abrupt, comic ending to the otherwise melancholy Interview with the Vampire.

    The I’ll-just-walk-away ending to Somewhere. At least Finney uses a hot-air balloon in Charlie Bubbles.

  • Alexander

    twicks, I loved the ambiguity of Young Adult’s denouement. Diablo Cody was effectively able to have her cake and eat it, too, by making Mavis believe she’s going to change come the end of the film–but how is she going to change? Well, primarily by forgetting all about Mercury, her past, her roots, the person who was the real love of her life (from her perspective anyway) and going back to… What? The odds are she’ll try to quit being such a wanton narcissist but her effort will collapse in short order, as the chief lesson she learned on her journey came from Oswalt’s pathetic sister, Sandra: Fuck Mercury, and in her case, forget about it and everyone there, including Matt. She’s probably looking in disgust at her car in the way a spurned suitor or lover looks at their rejected gift: with self-contempt, as if to say, “Why did I ever bother?”

    And that’s the beauty of the ending to Young Adult. The protagonist doesn’t really change. She just finds her outlook altered. But whereas she obsessed and fixated on her past, particularly in the case of one individual man, now she’s cutting it all off from herself. To be frank, though, the scene with her parents goes a little ways in helping to rationalize and explain that decision, too, even if the end result for her won’t exactly make her finally “grow up,” to borrow the tagline’s terminology.

  • Rashad

    The question isn’t what endings you didn’t like. devil inside takes it to a new level I heard. Apparently they put up a website for you to go to at the end.

  • thebuddha

    @ Abbey Normal

    Yes, the character seems to take a 180, but I thought that her reversal was sort of the point to further facilitate Clooney’s awakening. The “always on the road, never tethered, don’t fence me in” lifestyle that Clooney fully abides by, and Farmiga only selectively partakes in, is finally seen as a total farce, a lie built upon the fallacy of Clooney’s “suitcase” speech. Her total disregard of a pretty serious attachment, ie her family, shows the error in abandoning the compiled baggage that shapes and creates our present being. If anything her character, by revealing that she’s married and living a lie on the road, stays truer to the roots than Bingham, who evolves and changes. If anything I would classify her being married as a reveal instead of a reversal. She is not cold as you can tell from the later conversation, and she is wise and thoughtful, but forever chained to her ways.

    And as for why she would conceal her marriage, the attachment for her was perfectly temporary instead of slow building, which it ended up being for Bingham. While it probably wouldn’t jeopardize the relationship why change the variables in a seemingly perfect system?

    On to the topic at hand, I thought the ending of The Sopranos, while not a film, classified as having integrity but also infuriating.

    Also:

    -To Live and Die in LA

    -The Man who Wasn’t There

    -Brazil

    -Election

    -Magnolia

  • CitizenKaned4Life

    Martha Marcy May Marlene is a great example. I’m not really going to go into any spoilers here (because I really, really hope it’s something that catches on, post-theatrical), but just suffice it to say that if you were booing or jeering the climax, you weren’t ever truly with the movie in the first place, I don’t think.

    In a weird way, the ending is almost the entire POINT (or, to use a better word, culmination) of everything that comes before it.

  • SJRubinstein

    Gotta second CitizenKaned4Life as that was my experience with “Martha Marcy May Marlene.” I really liked the ending. Just thought it was the best way to end a movie like that, really. Thought it took a lot of balls, too.

    And holy shit, “Limbo” call back. Boy, do I remember being like, “Really? That’s it?” That said, I didn’t have the ANGRY reaction like I did at the end of junk like, say, “The Phantom” where it just set it up for a sequel assuming the audience would be dying to know what happened next. I remember getting angry at the film and thinking the filmmakers must’ve been assholes.

  • AlexG

    Sorry Buddha but To Live and Die in L.A. has a GREAT ending. What more is there after that? It says it all. The story is finished.

    But after seeing The Grey (which is pretty terrific) today no doubt a lot of people are going to be very pissed off with the ending for that film. I am myself, sort of, though I can understand why the film ends the way it does

  • thebuddha

    @ AlexG

    I actually loved all the endings I mentioned above, but they were unpopular with many of the people who have also seen the movies. Granted, I tend to love appropriately bleak and nihilistic endings, but most audiences dont like it, especially having spent 90mins or so empathizing with an antagonist, when the main character is not is a positive state.

  • http://www.twitter.com/zacomer Zach Heltzel

    I’ve only seen two movies where people *rioted* because they hated the ending so much, and they aren’t what you would expect. When I saw No Country for Old Men at a multiplex in suburban Arizona, people started throwing their popcorn and drink cups at the screen like animals. Cloverfield caused uproarious yelling by obnoxious teenagers who couldn’t stop chatting during the film long enough to pay attention to it anyway.

    I had no interest in The Devil Inside, but reports of the young, ethnic demographic it appeals to digging it up until the very end has me curious. What could possibly happen in this piece of shit that causes people who would otherwise like it to cry foul?

  • BobbyLupo

    Abbey – I’m with you; I think it’s completely and deliberately cruel of her to go to the wedding with him. Up until that point, I buy that she doesn’t realize he’s getting more interested, but going to a wedding with somebody is a HUGE relationship thing.

  • BobbyLupo

    “BUT THEN, she’s finishing up the book in the diner, and her voiceover is saying that her lead character is off to a fresh new start.”

    I wrote a great response that got eaten by the comment system…

    Basically, the entire movie builds to her breaking down and admitting to herself [for lack of a better word, her epiphany moment] all that’s wrong with her life. The movie knows that we as an audience expect that epiphany to lead to a life change. Some of the people that the movie shows might have actually helped her through that moment and guided her to a better life. But she has the epiphany and talks to exactly the wrong person, who sees Mavis only as a reflection of herself [in this case, what she wants to be], and tells her how great she is. Mavis is weak in that moment, and would likely take any advice she gets, and that’s what she gets.

    The bit with the voiceover is kind of like the last half hour of ‘Adaptation’ or the last scene of ‘Hollywood Ending’. It’s basically saying that the ending you’ve been trained to expect from this sort of thing is cliched bullshit that only a hack would write.

    And, before another post gets eaten, I think ‘The Mist’ has an ending which is brilliantly conceived, but poorly executed, for exactly the reasons Bob Roberts says. I understand why people are so divided on it, because some people respond to the implications and ideas and other people are put off because the implications and ideas are so poorly realized and represented. I’m kind of torn on it, as you may notice.

  • Bob Violence

    I saw one of the relatively few U.S. screenings of The Idiots and the audience walked out of that liked they’d been reprimanded by a harsh schoolteacher

    granted people don’t usually come out of von Trier movies feeling elated, but The Idiots plays at least in part as a comedy so it’s a bit more of a punch to the gut when Karen’s husband (that’s enough of a spoiler)

    The Boss of It All had a pretty great “sorry suckers, this is what you get” type of ending too

  • Gabe@ThePlaylist

    The ending to THE GREY made me want to punch babies. But now I am told there is a post-credits sequence I missed, so I guess that’s an invalid feeling.

  • Wiggumx

    Please, someone spoil The Devil Inside, since it’s apparently horrible, and most readers here will never see it! I want to know what’s so insulting, but I’m not taking hours out of my life to do it.

  • Wiggumx
  • Terry McCarty

    Going back two decades, the “Clean out your desk. You’re fired.” end of THE TEMP with Timothy Hutton and Lara Flynn Boyle is one of the greatest-ever terrible finales.

  • Terry McCarty

    Going back two decades, the “Clean out your desk. You’re fired.” end of THE TEMP with Timothy Hutton and Lara Flynn Boyle is one of the greatest-ever terrible finales.

  • Terry McCarty

    Going back two decades, the “Clean out your desk. You’re fired.” end of THE TEMP with Timothy Hutton and Lara Flynn Boyle is one of the greatest-ever terrible finales.

  • DeafEars

    “When I saw DAS BOOT, the audience didn’t take the ending at all well.”

    I’m the descendant of Jewish refugees who fled Nazi Germany, and even I was thinking “you’ve gotta be fucking kidding” at the end of DAS BOOT.

    Also thought the end of MARTHA MARCY MAY MARLENE was dandy.

  • Super Soul

    Wiggumx, that ending sounds hilariously awesome. for a midnight screening crowd. Nothing like the power of film to build a sense of community among a group of total strangers. I wish I’d have been there.

    Over 50 posts on the topic, and not one mention of Monty Python and the Holy Grail?

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