Exceptional London cop Nicholas Angel is involuntarily transferred to a quaint English village and paired with a witless new partner. While on the beat, Nicholas suspects a sinister conspiracy is afoot with the residents.
A man decides to turn his moribund life around by winning back his ex-girlfriend, reconciling his relationship with his mother, and dealing with an entire community that has returned from the dead to eat the living.
A shy student trying to reach his family in Ohio, a gun-toting tough guy trying to find the last Twinkie, and a pair of sisters trying to get to an amusement park join forces to travel across a zombie-filled America.
Three buddies wake up from a bachelor party in Las Vegas, with no memory of the previous night and the bachelor missing. They make their way around the city in order to find their friend before his wedding.
Following Kick-Ass' heroics, other citizens are inspired to become masked crusaders. But the Red Mist leads his own group of evil supervillains to kill Kick-Ass and destroy everything for which he stands.
Chloë Grace Moretz,
Top London cop, PC Nicholas Angel is good. Too good. And to stop the rest of his team looking bad, he is reassigned to the quiet town of Sandford. He is paired with Danny Butterman, who endlessly questions him on the action lifestyle. Everything seems quiet for Angel, until two actors are found decapitated. It is called an accident, but Angel isn't going to accept that, especially when more and more people turn up dead. Angel and Danny clash with everyone, whilst trying to uncover the truth behind the mystery of the apparent "accidents". Written by
In contrast to being used during the movie as the stereotypical first name in the phone book, the character named "Aaron A. Aaronson" is in fact the last one listed in the credits. See more »
When Sgt. Angel is putting on the Shotgun shell bandoleer in the Evidence room, you can see that there are no primers in the shell, showing them as non-firing dummies. See more »
Police Constable Nicholas Angel: born and schooled in London, graduated Canterbury University in 1993 with a double first in Politics and Sociology. Attended Hendon College of Police Training. Displayed great aptitude in field exercises, notably Urban Pacification and Riot Control. Academically excelled in theoretical course work and final year examinations. Received a Baton of Honour, graduated with distinction into the Metropolitan Police Service and quickly established an ...
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Although the opening credits start out normally, the movie's title doesn't show up until before the closing credits start. See more »
Hot Fuzz satirizes American action films in a way that an American satire would not. Edgar Wright and Simon Pegg don't simply spoof the plot threads and the car chases. They know the smaller details of Hollywood's formula, as they exemplify with its continuous references to the scene in Point Break where Keanu Reeves fires his gun into the sky in anger and the scene in Bad Boys II where Martin Lawrence, in a circling tracking shot, says, "S*** just got real." Not only do they tackle those less clear characteristics of Hollywood, they also perfectly portray people who talk about awesome scenes in action movies, hilariously by Nick Frost. The film is brilliantly in precise tune with the American mainstream action adventure.
The irony in this film is that it takes place in the serenely beautiful English countryside. In some ways, the film is very important for Americans to see. It delves very deeply into the conscious social mannerisms of the English, and parodies the timid insular English village life. Perhaps the most brilliant element of Hot Fuzz is the intertwining of a big-budget action film with gimmicks and a desperately fast pace and a quaint, atmospheric English village given the secrets-of-its-own flavor and a Agatha Christie-style expository structure.
The film-making style in and of itself is complicit in the satire. The cinematography and editing is a product of the school of Tony Scott and Guy Ritchie. It's filled with jump cuts accompanied by loud and constantly changing sound effects, occasional strobe, and montages of grainy, bleached out, extravagantly lit shots edited together at machine gun speed. The soundtrack is that of any super-cool action film from Hollywood. This works so well not only as a dead-on impression of Hollywood film-making but also as a hilarious opposition to the English countryside.
Simon Pegg's performance is a work of comic genius. His character is so well-developed as a man of invincible and authentic confidence and incredible drive, a workaholic, a zealot, and also an action hero stereotype. Nick Frost is a great second banana because not only is he the punchline to Pegg's straight line, he's also funny in such a direct, adolescent way, an unlikely comic relief sidekick.
The film's great surprise is a comeback performance from Timothy Dalton. Not only is it a reappearance from the abyss he's been lost in since his two-year stint as James Bond, but also a vindication against all who've continually dismissed his credibility as an actor and doubted his comic ability. He's very funny and one of the film's great highlights.
I've rarely seen a comedy so cleverly written, beautifully directed, atmospheric, or intelligently ridiculous.
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