Cmaj7#5 to C doesn't sound far fetched at all. In the end, if something sounds good - use it! But, if something sounds good, there will usually be an explanation for why it works...
In this case, Cmaj7#5 is a chord containing chromatic tension, that "wants" to resolve to something simpler. In particular, the two chromatic alterations to the chord (B, the maj7 and G#, the #5) can resolve by half-step to pitches within your home key, C Major:
- with Cmaj7#5 to C: the G# resolves downwards to G, the 5th of the C chord; the B resolves upwards to C, the root of the C chord.
- with Cmaj7#5 to F: the B resolves upwards again to C, the 5th of the F chord; the G# resolves upwards to A, the 3rd of the F chord; the E, which is the 3rd of the Cmaj7#5 chord, also resolves upwards, to F the root of the F chord.
From this, it is easy to see why a resolution to F may seem stronger: Cmaj7#5 to F is essentially all the pitches of an E chord moving up by half-step to an F chord, over a C bass (which may or may not move to the root of the F chord). But, of course, this leaves you on chord IV, if you are in C Major; although the chromatic chord may have been resolved, this won't feel like a resolution to your whole song or chord sequence. For this to happen, you need to resolve to a C chord, as you suggest. However, if this chord sequence occurs within the song (if it is repeated, for instance), you may want to resolve to a chord other than C; this will propel the music forward, as the music won't feel as though it has come to rest.
If you were going to use this chord (Cmaj7#5) at a point other than your song's ending, it could resolve by half-step to other chords in the key of C Major, for instance:
In fact, the first of these (Cmaj7#5 - Am) could essentially use the E chord "within" the first chord, to create a V - I cadence into the relative minor, A Minor. Whether this feels like an actual modulation would depend upon whether you stay long in A Minor...
(It is worth pointing out, that this kind of voice-leading works well in popular music, but would break rules in more strict forms of harmony/counterpoint - before somebody jumps on my parallel fifths!)
Finally, if you were using a dominant 7th chord, rather than a major 7th chord, this certainly would want to resolve to a chord with it's root a fourth higher. For instance C7#5 would certainly want to move to an F chord. There are two related reasons for this: the Bb in the C7#5 chord wants to resolve downwards to the A in the F chord; this is essentially a dominant chord, wanting to resolve using a perfect cadence.