is one of the most exciting directors working today. Each film in his catalog plays with the conventions of well-established genres or mixes disparate styles to make an entirely new experience for audiences to enjoy. While Wright had early success with comedy, .

Rather than settle for gratuitous action, while not losing any of the entertainment value. The following action scenes in Wright’s movies are prime examples of why he’s developed a devoted fanbase of moviegoers.

After barely surviving the fight against the vegan-powered ex, Todd Ingram (), the tension between Scott () and Ramona () is high. They don’t get a chance to clear the air before Roxy (), Ramona's fourth ex, interrupts and is ready to challenge Scott. He’s reluctant to fight a woman, but . Although to truly defeat Roxy, Scott will use some insider information only Ramona is privy to.

Out of the many creative action sequences in, this is the first time Ramona gets to throw down in the over-the-top world of the movie. The choreography between Roxy and Ramona is fun, with the ex brandishing a sharp metal belt and Ramona pulling a comically large mallet from her bag. when Roxy explains that only Scott can be the one to beat her in a fight.

In , an attempt by the delusional Gary () to impress a local teenager leads to his beheading in the men’s restroom of a pub. The good news is that the teenager is actually an alien-based android creature. The bad news: more androids are on the way. , the middle-aged men fight through their confusion to leave the bathroom in one piece.

The reveal of the androids is a hard right turn for a film that, up to this point, had been a character study about the toxic relationship between old friends and resentments not properly addressed. All of that character development is not thrown away, it's only sidelined as the friends now have a pressing matter of life and death in front of them. The fight doesn’t disappoint, with , with each man jockeying for position with little room to do so.

All roads lead to the Chaos Theater when Scott battles the final boss and last evil ex, the controlling and smug Gideon (). With the Sex Bob-Omb's playing in the background, Scott takes on Gideon’s men with the power of love. For all his previous success, Scott is still outmatched when it comes to Gideon, but when a second player joins in the form of ex-girlfriend Knives (), Gideon will finally accept his fate of bursting into coins (even if it takes multiple lives to do it).

The flashing red of the fighter in danger, the points ringing up on screen for a landed blow; those . Having Scott die just so he can use the extra life he earned in the previous fight plays into the video game motif, while also demonstrating the lessons Scott still needed to learn. On his second try, Scott can fight Gideon with an understanding of why he should be doing it in the first place.

The end of sees police officers Nicholas Angel (Simon Pegg) and convince the other police officers to work with them, and as a squad they swarm the supermarket where villainous Simon Skinner () has fortified himself. While Angel goes one on one with the hulking Michael Armstrong (), . Although the supermarket defenses seem impenetrable, the officers make a battering ram out of shopping carts and emerge victorious.

The scene is filled with comedic gems, to Danny needing to know what clever line Angel said during his fight. Interestingly enough, even though victims of the Neighborhood Watch Association die gruesome deaths, all the on-screen violence during the final battles is completely non-lethal. The staging of the fight follows all the steps of what could be expected in a big-budget action blockbuster, but with only a few small tweaks, Wright turns the same tropes into smart satire.

Not every action scene requires a punch to be thrown, as is the case with the battle of the bands' scene in Scott Pilgrim vs. The World. Scott’s band, The Katayanagi twins have better equipment and more of it, but the tenacious spirit of The Sex Bob-Ombs defeats the twins and earns them a record contract from Gideon that Scott refuses to take.

, adding a visual element to the musical contest. The soundtrack, featuring a large contribution from the artist , is fantastic from beginning to end, but the upbeat song “Threshold” on top of the animated battle creates a memorable moment. Scott Pilgrim vs. the World is an escalation of creativity that keeps outdoing itself, and the battle of the bands makes. A hard act to follow.

doesn’t waste any time, starting the film off with skilled getaway driver Baby () on the job as a bank robbery happens nearby. After the thieves enter the car,. In a move that seems impossible, Baby manages to deflect tire spikes into the path of a police car, using the law’s own tactics against them.

It’s vital for Baby’s skills to be established early on, and . Baby is an obviously skilled driver, but his talent is not just about his, but also his improvisational adaptability to read new situations and adjust accordingly. He could have memorized every road and shortcut, but what truly allows him to escape the pursuit is seizing the opportunity of camouflaging himself by driving near two other identical-looking cars to misdirect the police.

When supercop Nicholas Angel arrives back in the town of Sanford on a horse, loaded down with enough weaponry for a small army, viewers know the finale of Hot Fuzz will be action-packed. The elderly members of The odds are stacked against Angel, but backup from Danny evens the odds and saves the day.

From slow-motion dives to dramatic camera movements, in the second entry of The sight of traditional action choreography normally saved for a movie used in a fight between Pegg and elderly villagers is ludicrously entertaining and clever. By playing the scene as seriously as possible, and taking the time to stage a legitimate action scene, the comedy is sharper and more effective.

A calm moment in the abandoned pub, The Winchester, goes sideways fast when Shaun (Simon Pegg) realizes . The group’s only hope is to be quiet, but Ed () throws that option out the window when he activates a loud slot machine. Compounding the issue is the undead owner of the pub appearing right as ’s “Don’t Stop Me Now” roars to life on the jukebox. With no choice but to fight, Shaun and his friends grab pool cues and get to work.

There’s an early hint of what will come later with Baby Driver’s synchronized action, as the chaos of Shaun’s plight harmonizes with Queen’s hit song. . The unique cocktail of horror, comedy, and action is what helped make an.

After being pushed past his limit by Bats (Jamie Foxx), Baby ruins the getaway by driving the curse into a truck, impaling Bats on rods in the truck bed. With the car destroyed and the police closing in, Baby’s escape is now without the luxury of horsepower as a tool. Out of his comfort zone and stuck between the criminals that want to arrest him and the criminals who want to kill him, Baby is forced to use his quick thinking and power of observation to pull off his most impossible evasion.

For a movie about car chases, Baby Driver’s best action sequence is the one that takes him out of the driver's seat. With the song “Focus” serenading his panicked sprint through the downtown area, the action is more desperate and lacks the control of his earlier exploits. If the previous escapes were skill, his trial by foot is purely instinctual, picking random directions in a mall and hoping luck guides him to an unguarded exit.

Gary convinces the group to continue the pub crawl to not look suspicious, but his self-serving motives only get the group in trouble as they’re cornered in a location and forced to fight for their lives. While Andy (Nick Frost) has been holding back up to this point, he finally hits his breaking point and begins to demolish anyone within arms' reach while the others fend off attacks from all sides.

As the camera darts back and forth between each surviving member of the friend group, the action is relentless and smoothly choreographed into a display of combat artistry. There’s a brilliant bit of Buster Keaton-esque physical comedy with Gary solely focused on getting his drink down to successfully finish the pub crawl and fighting his way through the androids to achieve his goal. Frost is hilarious as Andy, who has finally gone into beast mode, clearing out waves of enemies like a professional wrestler in a manic rage.

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