12 Supposedly Heartwarming Movie Endings That Are Actually Kind Of Creepy

Radio Flyer has an infamous ending. When a film critic like Roger Ebert absolutely goes to town on not only the finale but the movie as a whole, you know you've struck a nerve. So, the setup goes like this: Tom Hanks's Mike narrates a story about his childhood in the late '60s in which his younger brother, Bobby, is constantly abused by their stepfather. Inspired by an urban legend of a sort, Mike and Bobby jury-rig their Radio Flyer wagon into a flying contraption that somewhat resembles an airplane so Bobby can fly away.

At the end of the movie, Bobby actually flies away on the Radio Flyer plane in a scene that defies all logic. Bobby, an 8-year-old kid, sails through the skies away from his abusive stepfather and, supposedly, just does whatever he wants during his life on the road. Mike and his mom begin to get postcards from Bobby shortly afterward, and when we flashback to the present with Hanks as the grownup Mike, he claims to still get postcards from his brother to this very day. Except, um... no. Bobby is clearly dead, and the story of his escape is clearly a pleasant concoction of Mike himself - a more optimistic version of reality he can pass along as bedtime stories for his children. In the psychological community, this is known as “denial.”

With all due respect to the rebooted Jumanji franchise, the new movies simply can't match the heart of the 1995 original. Much of this comes down to the warm performances of both Robin Williams and Bonnie Hunt as Alan and Sarah. As adults, they feel like human beings whose lives were completely upended by a malicious board game more than two decades earlier. When their lives are reset back to 1969 at the end of the movie, you can't help but be happy for them. That's the kind of movie Jumanji is.

Although, they remember the two-plus decades they lived after Jumanji changed their lives for good back in 1969 at the beginning of the movie. So, when they finish the board game and reset the timeline, both Alan and Sarah have years' worth of experiences far past their actual preteen age. It's more than a bit unsettling when you really think about it.

Of the three romantic comedies Drew Barrymore and Adam Sandler have done together over their lengthy careers, 50 First Dates is both the most successful and the most unhinged. Barrymore plays an art teacher named Lucy Whitmore who suffers from a fictional form of short-term memory loss called "Goldfield's Syndrome," and Sandler's Henry Roth really wants to be with her. But, since they met after her mishap, she'll never be able to remember who he is. Wackiness ensues all around.

That high-concept setup is nothing compared to the finale of the movie, though. The final scene jumps forward in time with Lucy watching a home video every morning titled "Good Morning Lucy." It turns out she's married to Henry and they have a daughter! Every single day of her life she learns not only does she have a debilitating, incurable medical condition, but she's in a years-long committed relationship with a total stranger... and they have a kid...

The ending of The Twilight Saga: Breaking Dawn - Part 2 isn't really a secretly creepy ending as much as it is patently, blatantly bizarre. And we're not talking about the twist where a massive battle with numerous deaths takes place only for it to be revealed that it all merely happened in a character's mind. No, we're talking about that very creepy thing where a grown adult imprinted on a baby, helped raise her, and eventually married her.

Yes, Alice's flash-forward sequence shows Jacob and Renesmee (Bella and Edward's young daughter) all grown up and loving on each other! Which, without context, isn't all that weird. Except when you know Jacob was there for Renesmee's birth and "imprinted" on her when she was a baby, things really take a turn. Go read the Twilight Wiki entry for "Imprinting" and it will make you feel very uncomfortable.

Big is a delightful, heartwarming fantasy/comedy that vaulted Tom Hanks to the top of the A-list in 1988 on the back of a huge box office gross - and it earned a couple of Oscar nominations to boot, including one for Hanks. That being said, Big is also a very weird movie about a grown woman who ends up falling in love with a 12-year-old in a fully grown adult's body. Talk about “Yikes Central” over here.

The plot of the film gives Hanks an excuse to expertly act like a 12-year-old for the majority of the runtime, but it also doesn't deal with the fact a grown woman falls in love with him and - wait for it - has a sexual relationship with him during the movie. Of course, it's not really her fault at the end of the day. Why would she believe a 12-year-old has been magically transformed into an adult by an antique fortune-telling machine? It's absurd. Still, watching her drop off a child she's been dating back to his mother at the end of the movie is bizarre, even in context.

Thomas F. Wilson's Biff Tannen is a fantastic villain to root against. He's big, he's brash, he's dumb, and he's mean. During both the 1985 opening and the 1955 where the majority of the film takes place, Biff exists to be a huge bully for the audience to hate. Mission accomplished! When we get to see him in the revised 1985 of the film's ending, the villain of the entire movie is nothing more than a tracksuit-wearing goof who is a far cry from the old Biff.

But, like, wouldn't the McFlys not want him around at all? Or did everyone just forget that time in high school when he tried to sexually assault Lorraine Baines? It seems like the mere sight of the man would bring back some harrowing memories for Marty McFly's mom. One punch from George McFly and everything is good now? There has to be another mechanic in Hill Valley!