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I don’t mind endings that make you wonder what might happen to a character had another scene been written or filmed.
Both Something Missing and Unexpectedly, Milo end with the protagonist’s future in doubt. But at least you know that both protagonists will have a future.

What I despise are endings in which the existence of the protagonist in a subsequent scene is in doubt.

This is why the last episode of The Sopranos annoyed me.

Either kill Tony or don’t. Don’t avoid taking a position on the matter by creating some multi-layered scene that might be interpreted as Tony’s eminent death but might not.

This was a mobster show. Whack the guy or don’t.

This is why I didn’t like the ending to The Wrestler.

Yes, it’s very likely that the viewer is meant to assume that Randy dies at the end of the film, but again, his fate is ultimately left to interpretation.

Does he suffer another heart attack as he dives off the top ropes?

Possibly. Probably.

But aren’t there medical personnel on hand?

Didn’t he survive his first heart attack?

Kill him or don’t.

Ambiguity in the possible death of a character is an act of cowardice on the writer’s part.