I can think of many of stories (even entire genres) where a gotcha ending is almost mandatory (thrillers, mysteries, horror) but these twist endings come after a series of twists and turns. The thing that bothers me about your question is you say it is general fiction and also there are 3 plot twists that change everything at the end, but no significant twists along the way.
This sounds like a Shaggy Dog Story or worse Deus ex Machina. Since the twists come at the end you are essentially excluding your characters from growing or adapting, so it's not really about them. The "gotcha" is on the reader, and that feels like a punchline or a WTF.
If the gotcha ending is on the protagonist but coming too late for him to do anything about it, the story can feel like a parable designed to give a life instruction, even if it isn't intended to be. The protagonist was wrong, so what flaws lead to his mistake? Was he too nice? Maybe the world is just cruel..., or maybe it's a positive turn and the moral is if you keep praying luck will come (Deus ex Machina again).
Even in all those M. Night Shyamalan films with the (imho) one-note gotcha endings, these stories are constantly signaling that something is wrong with the order of the universe. The ambiguity is the story. The big reveal is the climax to the world's "mystery".
Without any foreshadowing or ambiguity signaling, such as clues that the narrator is unreliable (or naive, or paranoid) there is no otherworld to unveil, no villain to unmask, no conflict with reality. It's just a sudden WTF – your mom's face fell off and she was a robot the whole time, the end.
Since you've generalized your question, maybe your story actually fits a good scenario. There is a genre of short stories (and teleplays) that are the formula of a worldbuild-y setup and a sudden reveal or left turn ending: The Open Window by Saki and more or less every episode of The Twilight Zone.
Most action movies are this kind of story if you take out all the action. A hero goes on a mission but when confronting the villain there is a plot twist reveal about corruption at home or there is a team betrayal or secret uber-villain. This extends the story to a second climax, and of course action stories are not big on character development so they would feel bare without some sort of plot development to drive the last act.