Since his breakout role as the Man with No Name in Sergio Leone's A Fistful of Dollars, Clint Eastwood has made a name for himself as one of the best actors and directors in Hollywood. Tackling almost every genre, from comedy and crime to Western and war, it's hard to discuss cinema without mentioning the icon. With a career as impressive as his, there's no shortage of brilliant endings to his films.

After John Wayne, few actors have starred in multiple truly great Western movies or have been able to embody the Old West like Clint Eastwood, and his entries in other genres have been just as significant. and some movies are a testament to this. From gun battles to tragic deaths, it's rare for moviegoers to leave one of the star's movies disappointed.

After his successful move to thrillers took off with Dirty Harry, Eastwood continued his foray into the genre — albeit with very mixed impact. In 1978, he starred in and directed The Gauntlet, a gritty road trip adventure with a very simple premise: The detective has to bring his prisoner from Las Vegas to Phoenix before the mob and corrupt cops can take them out. The ending comes as a moment of well-earned victory for its hero, as he wins the respect of his fellow cops.

Outside of comedy, happy endings are the exception in Eastwood's career, with most of his characters lucky to see their stories end standing over a dead bad guy. Here, however, — as it happens, with a woman played by his real then-wife, Sondra Locke. In effect, the ending signifies the redemption and revival of its hero.

Despite its controversial background, thanks to its focus on companionship, revenge, and redemption. As its hero meets a diverse group of outcasts, the story builds towards his final confrontation with militia and bounty hunters chasing him. What follows is one of the best gun battles of the genre, as the heroes defend a farmhouse from a small army.

The Outlaw Josey Wales' ending shows just why the Redlegs pursue Wales with such intensity and almost represents the one-man war the hero had been waging to avenge his family. Now with a surrogate family at his back, the scene allows him closure as he defeats the villains and is let go by his old friend. The Confederate-turned-hero is a staple of the genre, and no film sold this change as well as this tale.

Following his successful tenure in the Western genre, Here, he played the role of a morally gray San Francisco cop tasked with finding Scorpio, a serial killer loosely based on the real Zodiac Killer. The movie came amidst a real crime wave in the nation, and its ending signifies the pessimism and anger felt by many at the time.

Dirty Harry's final showdown feels like a modernized scene from one of Eastwood's Western movies, even concluding with him throwing away his badge just as Gary Cooper does at the end of High Noon. The final note of the movie balances the heroism of Callahan against the nihilism of '70s cinema. While the villain is defeated, the hero — and the audience — is left frustrated by a broken system, a sentiment that has defined crime movies throughout the decade.

When it comes to the sports genre, directors and stars have often sought to combine inspiration with drama. as he presented the story of an aspiring female boxer left in a quadriplegic condition. The heart and soul of the story come from the relationship between Eastwood's Frankie Dunn and Hilary Swank's Maggie Fitzgerald, one that mirrors a father/daughter dynamic.

Million Dollar Baby quickly garnered praise for its characterization, both in Dunn and Fitzgerald, while also becoming one of the most tragic films of its decade. The final act of the film builds towards Frankie's gut-wrenching decision as he euthanizes his surrogate daughter. Audiences knew where the film was leading the moment Maggie was hospitalized, but seeing it play out gave Eastwood his most heartbreaking ending to date.

As perhaps his most controversial film, namely the clash of cultures between American-born and immigrant communities. Despite the tension present in the film, the actor-director presents a touching story of mentorship as he plays the role of a bitter older man who takes a Hmong boy under his wing. The film presents two views of America, one of community ties and family, another of crime and dispossession.

Gran Torino's ending signifies a crucial evolution for Eastwood's character as he lets go of his prejudices throughout the story and gives his life for something greater than himself. After having been used and neglected by his own children, the bond he forms with Thao reminds him of what it means to be a protector and, to some extent, a good father. In giving his life, he allows his neighbors to live theirs in peace, with his death symbolizing the end of "old America" to allow a new one to prosper.

In High Plains Drifter,Eastwood gave Western fans something genuinely unique in a tale that combined the premise of Rio Bravo with the supernaturalism of a Twilight Zone episode.The film uses the threat of a trio of outlaws returning to a cowardly town to keep the audience intrigued, slowly counting down to its inevitable confrontation. When it finally arrives, justice is delivered to everyone involved.

directing even more anger toward the cowardly townspeople. After setting up an epic battle, the film's stranger shows up at the last minute to take his revenge on the men who killed him, before revealing himself as a ghost to both the audience and characters. The ending sends a chill up the spine of those watching and leaves every character having gotten what they deserved.

One of the things Eastwood was always great at while making Westerns was channeling the classics, paying homage to the directors who came before. No film is as much a testament to this as . Here, the actor appears in the role of the Preacher, a mysterious hero who arrives in a small town to protect the people from a thuggish land baron.

Pale Rider's homage to Shane is particularly obvious in its ending, which gives Eastwood one of his most epic showdowns against Stockburn's men before riding away from Megan proclaiming her love. The film builds on Alan Ladd's classic brilliantly, reimagining his heroic gunfighter as an avenging angel, elevating it to the genre's finest supernatural Western. The conclusion honors both the film's horror roots and the gunslinger mythom and it salvaged the Western in a decade that saw its decline.

As soon as it released, Unforgiven earned a reputation as one of the greatest Western films of all time, in no small part thanks to how it both deconstructs and explores the genre. Eastwood made the film as a summation of his views on the genre at the time and, from beginning to end, it offers a somber anti-violence message. The ending is one of the deepest of his career as it challenges the morality of the West, forcing the viewers to root for an outlaw against a lawman

Unforgiven's ending befits its overall message of the moral ambiguity of the Old West. In just one scene, the film simultaneously deconstructs the romantic view of the West, while also reconstructing the myth of the deadly gunfighter. However, for those who understand the movie's subtext,

Following his blockbuster success in A Fistful of Dollars, Eastwood returned to the role of the nameless gunfighter in For a Few Dollars More. A rarity in the genre, this sequel actually gives Western fans a buddy cop-style team-up movie, one that sees the antihero partner up with Colonel Mortimer, a bounty hunter seeking vengeance for his dead sister. As the movie builds towards his moment of justice, the Stranger's intervention offers a cheerful turn, one that stands out as the film's best moment.

one that sees a victorious Mortimer ride off into the sunset as he leaves the Stranger to count his fortune. For audiences who love an inspirational Western, the film offers a nice contrast with Eastwood's other movies. Mirroring the iconic ending of Indiana Jones and the Last Crusade, it's as picturesque and idyllic as it gets.

with each successive film. Here, audiences are treated to a truly epic treasure hunt, one that takes its characters on a journey into the heart of the American Civil War in search of gold. The movie is a masterpiece on every level possible, from its stunning backdrop and emotional character moments to its legendary score and iconic showdown.

The Good, the Bad and the Ugly's final duel is perhaps the single most iconic scene in the genre, one elevated significantly by Ennio Morricone's score. After the standoff between the eponymous trio of gunfighters, audiences watch as Eastwood's beloved stranger rides off into the sunset for the last time, leaving Tuco with his loot. The finale stands out as a visually captivating work of art, and the Stranger's ending is the most triumphant in the genre.