The score (Bruckner's original markings, who knows?) does have accents over the last three notes and the word riten., but the work's rhythimic leitmotif is lost the way most conductors suddenly slam on the brakes.
As for Jochun's "stop-go" approach, it's certainly in accord with Bruckner the organist changing the stops between sections of music. His orchestral writing does seem rather vertically conceived. Jochum's approach to the very end - at least in his Hamburg Philharmonic recording - is somewhere between Runnicles' extreme and Barenboim's