The Types of Movie Endings That You Hate

basic rule of horror - don't lose your nerve.

Surely though the worst ending was Blade Runner in its original theatrical release. Thankfully fixed later.

I like the ambiguity of the ending in 1990's Total Recall.  Not a great film I would say, but it's one of those that I have most enjoyed seeing in the cinema with friends. I have a short story compilation of Philip K. Dick that includes We can Remember it for You Wholesale, and just re-read it since it had been quite a few years since I last did. I would say that it is much less ambiguous, and while the protagonist (Quail in the short story) spends some time questioning what's real, it seems clear that he had experienced events that were planned to be implanted by Rekal as fantasy fulfilment (he started to remember under the influence of Narkadrine without false memories being implanted).  Not one of his best-written stories (rather clunky in part), but fun and quite funny in its way.  In the 1990 film version (I haven't yet seen the later Total Recall despite loving lots of Colin Farrell work) it's left more open to interpretation.  

As for Brazil, I love at least a couple of cuts of the film.  The Love Conquers All happy ending producer's cut version that was released to American filmgoers is vastly inferior to me and I really dislike the ending that the producer had made for that (due to test screenings, and expected length).  I really like the way dream sequences are used in Brazil (well, not in the producer's cut).

Logan wrote: As refereed to earlier, the endings I often dislike are when things are too neatly tied up and tied together, and those silly, unrealistic happy endings.  I dislike ones often that have too much expositional value, like the audience needs to be spoon-fed information so they aren't left questioning things/ confused.  That is what some audience members want.  They want to know how they are supposed to think instead of things being left open to interpretation.  Thy don't want to ponder at the end about meaning.  Some endings are so obviously concocted to try to make sense of the precedings, and feel terribly artificial.  Of course there's a mind or minds concocting it, but I don't want to become too aware of that when watching it generally (that takes me out of it).

I very much agree on this, but then those endings usually belong to films I only rarely watch (well I don't watch that many films).

There are even art films with endings I have troubles appreciating. A good example is Carl Th. Dreyer's "Ordet" (The Word) which ends with a resurrection.