At the end of North by Northwest, for example, which, like Mad Men, is about a tall, dark, and handsome Madison Avenue advertising man with a confused identity, Cary Grant is about to fall from Abraham Lincoln's nose on Mt. Rushmore. Thirty seconds later, all plotlines are resolved and he's on his honeymoon with Eva Marie Saint. Now, that's an ending!
By the way, I suspect the obsessiveness about not revealing in reviews any "spoilers," which seems to have became dogma around the time of The Sixth Sense, has hurt the relative status of movies versus longform TV shows in elite discourse. Longform TV dramas such as Mad Men are discussed at vast length online the day after each episode, but movie reviews are stilted by the spoiler taboo.
The Hurt Locker is, once again, a good example: the power of the film depends upon the last five minutes, in which the adage that Character Is Destiny is illustrated with extraordinary economy. But reviewers aren't supposed to "spoil" the end of a film, so practically no reader could puzzle out from all the published verbiage about The Hurt Locker why it was a very good movie, or why he should even see it, which led to mass bafflement when it won the Best Picture at the Academy Awards ceremony.
To explain why The Hurt Locker may well have deserved its Best Picture Oscar, you really have to recount the contrast between the bulk of the movie in Baghdad and the few scenes close to the end back stateside (oops, I just revealed a spoiler). The Baghdad street scenes are shot through telephoto lenses that both illustrate the tunnel vision focus the bomb techs need to do their job, while simultaneously compressing the apparent distance between the near and the far into a disorientating, flat, and cluttered pictorial space that keeps the viewer from being able to discern what’s safely far away from the heroes and what’s close enough to kill them, which is, of course, the same question the heroes are constantly wondering about.
Then, near the end there's [SPOILER ALERT! AHHHHOOOGGGAAA! SPOILER ALERT!] a great fisheye lens shot in an endless breakfast cereal aisle of ex-Sgt. James befuddled by his new civilian duty of having to choose one box of cereal out of hundreds of offerings. (I spent an hour searching online last winter during the Academy Awards season for a still of that scene to illustrate the key to the movie, but none were available -- No Spoilers!)
A few minutes later, Sgt. James is shown back in The Suit in another super-telephoto shot of Baghdad, likely doomed, yet also fulfilled by choosing the fate his personality craves.