Hot Fuzz is a hilarious spoof of buddy cop films. Packed with clever humor, zany characters, some surprisingly graphic scenes, and a side-splitting climax, this thoughtful homage to police films is truly one for the ages. As usual, Simon Pegg and Nick Frost make a great team.

HOT FUZZ takes the trio’s game up a notch after SHAUN OF THE DEAD—with more depth, sharper shocks, bone-dry humor, and enough explosive action to satisfy both cop movie junkies and horror heads.

That was the last thing I ever expected for a police comedy but I'm glad that this exists. This one of the most stupidest, dumb but also incredibly hilarious movies out there. I am so happy I've watched this. It generally made my day.

A film that deserves to be talked about more than it is. Some may say that Shaun of the Dead is the best of the 'Cornetto Trilogy', but this film in my opinion, takes the gold medal by far. British Comedy at its finest, Hollywood blockbusters have nothing on this gem.

Hot Fuzz is an action-packed comedy directed by Edgar Wright, who manages to capture humor in a unique way. The directing style of quick cuts and suspenseful implementation of sound effects was impactful and helped connect emotions. Edgar Wright created meaning in every shot; his use of camera angles captured hints of what could happen in each scene. His camera work encapsulates the intensity of the scenes with fast cuts. Color played a major role in this movie, with a consistent blue tint distributed through the entire visual composition. The color symbolizes the films tone, enhancing the narrative. Another important element is music. There were times when the music was overwhelming and distracted the audience from small details captured in the camera angles. Although the music was overwhelming, the dynamic use of volume, both high and low, was needed. The sounds of footsteps and cups clinking help viewers feel like they are in the film. Beyond the immersive sounds, the script and costumes further bring the characters to life. The script and costumes fabricate personalities for each character and help in understanding the roles being played. Beyond the costumes, the character of Sergeant Angel is given short lines, he created a pretentious tone with his delivery of short, witty quips. Each actor portrays their character in different ways with their mannerisms. Sergeant Angel uses little emotion throughout the movie, which gives his character a cold personality; this helps build the story of Hot Fuzz. Simon is a police officer who takes his job seriously; he does not let anything get in the way.

Before 2010, director Edgar Wright had yet to reach the status of a filmmaker he is considered today. While his success from 2017’s Baby Driver was well deserved, an upcoming Wright in 2007 for Hot Fuzz showcases the fundamental positives of his styles that would be translated to 2017 incredibly well, but also lackluster qualities that eventually diminish the shine of an otherwise deserving British Academy Award-winning film. For only his third directorial opportunity, Wright’s conveyance of script, storytelling, and themes is considerably first-rate. He manages to sell an otherwise dramatic and overzealous plot through strong, interconnected themes of comradery and adept dialogue that allow the viewer to appreciate said themes and story. However, the superb acting of Simon Pegg, Nick Frost, Timothy Dalton, and the many other constituents of the large cast enables this appreciation to take root in the first place. Being of the comedic buddy cop genre, Pegg and Frost’s characters have copious amounts of screen time. Surprisingly, never once do their scenes get stale or boring. The well-implemented jokes between their two characters, along with excellent line delivery, combine to make the many scenes containing these partners refreshing and undoubtedly funny. With a film about cops, the characters' costumes seem to be well-made and believable; however, there are few scenes with close-up shots of the uniforms, making critiquing and appreciation difficult. While the camera work throughout the movie is not bad, nothing exceptional stands out. There are a variety of angles throughout with some lighting distinctions—mainly considering indoor scenes with shadows and warmer tones. Moreover, color seems to be nothing to write home about. While there are no cinematic marvels to be had in terms of cinematography, it gets the job done beyond a doubt. Tuning into a more positive note, the sound design is certainly noteworthy. With that, one moment comes to light with a long, narrow, and blurred shot of Pegg’s character Angel stomping down a hallway, whose steps echo and reverberate beautifully, at the film's beginning. This brilliance, while an uncommon spectacle cinematically, is not solely present in the first minute of the film’s sound design. Even with a great soundstage, the music and score of Hot Fuzz get overbearing when constant samples of it can be heard through seemingly all two hours of the film. With this, the atrocities for which the editing of Wright’s third directorial piece commits only amplify the cloudy and flustered music. While Wright seemed to master the art of quick cut-style editing techniques in Baby Driver, his 2007 creation lacks the refinement and impressive implementation characteristic of the 2017 movie. In Hot Fuzz, the cut from one action to another is commonly achieved with these abrupt, unclean transitions that make the viewing experience and flow of the film less desirable. Special effects such as explosions and gunfights—which are plentiful in this action film—are also affected. An over-reliance on quick cuts and the effects it has on other aspects of the film robs it of vital positive qualities. Even so, Hot Fuzz is still an enjoyable comedy that demonstrated Edgar Wright’s strong potential in 2007—whose limits would be reached and/or exceeded nearly a decade later. 6.4 out of 10—slightly above average. It is not a masterpiece in any way, but a fun watch regardless.

When exploring Edgar Wright’s creative vision and direction of Hot Fuzz, it translates well to an audience that this is a satirical comedy. This vision is brought to an audience on a silver platter through comedically timed lines, quick camera cuts and slow zooms, and the personality of specific characters like Danny—played by Nick Frost. Throughout this movie, there are many captivating moments, but some get lost in the fuzz. Before this movie jumps into its first scene, it opens somewhat chaotically. Attacking audiences with police whistles, sirens, and flashing white lights, perhaps attempting to put the audience on their toes from the get. Aside from that—early on in the movie—some exceptional things can be recognized, such as the long and far camera angle of Sergeant Angel walking down a highly contrast-lit hallway, aided by the specific sound design of his squeaking shoes. A remarkable feather in this movie is its sense of realism; when noticing the settings such as the police station, grocery store, and village all of these places feel lived in. The blue and yellow-tinged scenes, along with the serious religious themes approached in a dramatic and unserious tone, helped turn up the comedic value of this movie. It’s obvious Wright wanted this film to feel like an action and suspenseful film at times, and the specific colors of scenes and specific character costumes helped him accomplish that. While there are many positive things to note in this film though—in many moments—things tend to fall flat. Which may be caused by the frequent bad acting or the trickle of dad jokes left throughout the script. Though this movie, at times, does an exceptional job of introducing realism often there are scenes that feel out of touch. Along with not contributing to the comedic effect. The over-the-top special effects, CGI during explosions, death scenes, and the paper-crumble reminiscent bone cracking throughout the film tended to interrupt and ruin some high-tension scenes that take away from the impactfulness and comedic value within the story. Many times throughout this film, the overacting and chaotic editing can be a lot for an audience to digest, which can lead to visual fatigue—admittedly, at times, I did experience it. Though this movie did have some lows, it ended on a high note. Rolling into the credits playing the song, "Here Come The Fuzz" by Jon Spencer and the Elegant Trio. Making a clever callback to the movie’s title. Overall, this film wasn’t horrible. This could be a good movie for an audience who may not be familiar with Edgar Wright’s work, but for audiences who may be more versed, I wouldn’t recommend this novice film. My rating of this film is a lackluster 5/10. My recommendation lies with Wright's newer works; a better pick may be his 2017 film Baby Driver. With a decade of experience filling the gap between these two films, I can confidently say almost any other film of Wright’s after 2007 will be a significantly better watch.

In 2007, the movie–Hot Fuzz–directed by Edgar Wright, won the best British comedy of the year, so the question stands if the film really deserved this title. To answer this question, one can evaluate and analyze the film. After watching Hot Fuzz, while I do believe the movie has some strong aspects, it does have some flaws, which leads me to think this film was not the best choice for this award. The transitions and cuts within the film do have positive effects, however, they are also the movie’s downfall. Hot Fuzz is filled with several quick cuts, flashing lights, and fast-paced transitions which contributes to the upbeat, action packed feeling of the movie. On the other hand, these quick cuts and intense, choppy transitions lead to a lack of clarity and subsequently, audience confusion. For example, during conversations, the fast cuts back and forth between characters can make the dialogue hard to follow. As for the set design, costuming, and makeup, they are realistic and believable. With this, the main character–Nicholas Angel–played by Simon Pegg, portrays an everyday police officer well with his cold, stern, unemotional personality. Throughout the film as a whole, the actors have great line delivery and effortlessly carry out their jokes as the script smoothly incorporates them; this is particularly evident in side character, Danny Butterman, played by Nick Frost. The score and sound design in the film are both strong parts of this film; they are realistic for the most part. When they are a little dramatic, it seems to be a director’s choice for comedic reasons as a way to make fun of generic action movies. This comedic exaggeration can also be seen in the CGI and special effects; for instance, the gunshots and explosions. The plot and storyline of Hot Fuzz is one of the strongest points in the film. The storyline pulls the audience into a false sense of security as it seems predictable, however, as the film continues, more twists and turns arise and exhibit its unpredictability. This aspect of the movie keeps the watchers on their toes and adds an exciting, thrilling factor. The only downfall of the plot is the ending, which is filled with a few more action packed scenes as well as a year time jump. This ending feels rushed and seems as though it was not wrapped up to its full potential. There are a couple themes within the movie that the audience may pick up on. There is a religious theme that is incorporated often throughout the film; this can be seen when Nicholas is pictured with angel wings and the fact that his last name is Angel. The theme of what happens when one spends too much time focused on work is also present within Hot Fuzz, particularly through Angel’s development throughout the movie. The film Hot Fuzz is an enjoyable, comedic movie that I would recommend; I rate it a 6.5/10. Despite that the film is an entertaining watch, the confusing cuts and rushed ending ultimately lead me to believe there may have been a better option as the best British comedy of 2007.

The British comedy/action film Hot Fuzz directed by Edgar Wright is a comedic landmine that throws the viewer into an overwhelming explosion of vague humor. Through subtle placements and comments from characters it gives away the entire story from the start; its overuse of foreshadowing tells the viewer exactly what to expect and then some. Though much of this is lost on first time viewers it adds rewatchability to keep the audience wondering what they could find on the next watch. The main character Sergeant Angel–played by Simon Pegg–with his partner Danny–played by Nick Frost–often have humorous dialogue that can at times be over the top and hard to follow.Although flawed, one thing that this movie generally does well is tension. The mix of dramatic music with over the top quick cuts from character to character creates a tension that can’t be taken seriously. Likewise, the intense lighting often enhances the tone of the film. An example of this being when Simon Pegg and Nick Frost’s characters have a heated argument and the scene is flushed red from the headlights of their car. As red is often seen as the color of love or anger, its use in this scene intensifies the moment to the point it would almost be emotionally impactful if it was not for the constant stream of jokes. In a similar fashion, the more sophisticated themes of the film frequently get shoved aside in the name of comedy. As it is also an action movie it frequently uses practical effects and CGI to boost the intensity of the film. In many cases, its effects are disproportionate to the situation at hand and often detracts from the rest of the film. Along with the special effects, the sound design of the film is overpowering. It seems like nearly every movement is heard in detail. Furthermore, when coupled with the quick cuts of the film it can become overwhelming very easily and distracts from the rest of the film. Hot Fuzz is excessive in every way and is simply trying to do too much. As an earlier work of Edgar Wright's, it feels like he is still learning how to balance a film–which he has since improved on in his more recent pictures.

It's not that funny and honestly I wanna to stop watching it. I don't get all the hype but I've seen worse. Tim Treakle

Hot Fuzz: Is it Worth the Watch? If you’re looking for a film with countless jokes, an engaging story, and underlying themes, then be sure to check out Hot Fuzz. Edgar Wright's 2007 comedy Hot Fuzz is an excellent showcase of his blooming talents as a big-screen director. Wright’s script is full of classic British humor, which the protagonist Nicholas Angel–portrayed by Simon Pegg–and his co-star Danny Butterman–portrayed by Nick Frost–bring to life in a brilliant fashion. Pegg and Butterman bounce off each other effortlessly in numerous scenes, a highlight being when they discuss the background of pedestrians walking by. They are accompanied by a plethora of other outstanding British actors such as Olivia Colman, Paddy Considine, and Jim Broadbent. Throughout the film, there is a theme of a small, tight-knit community that can be judgmental of each other–accentuated by the fact that the main setting is in the rustic village of Sandford in the English countryside. This theme, however, is given a twist into something more sinister. As the story progresses, it becomes evident that the movie's plot is going in different directions with new plot twists that are emphasized by intense music transitions and the director's cliché costume choices. A downside is that with Wright's unique directing style, there is an excessive amount of quick camera shots as scenes transition, however, there are a great deal of good transitions that are produced very well. Another highlight of the film is the first-class soundesign that helps transport the audience into the scenes, although there are points when it pairs poorly with the outdated special effects and makes for some displeasing scenes. One of these scenes is when Angel arrives in his new village and is processing people within an hour of his arrival. This scene is made better despite the camera shots with the song “Here Comes The Fuzz,” which helps add to the comedy of the scene. There is a discrete blue tint that is added throughout the film, perhaps due to the film's heavy emphasis on the police force. During the ominous scenes, low contrast lighting is used to add a more suspenseful atmosphere; conversely, it uses high contrast lighting during the remainder of the scenes. Despite the outdated special effects and, at times, overbearing camera cuts, Hot Fuzz deserves its award for best British comedy of 2007. It is a film that is undoubtedly worth a watch; I would personally rate this film a 7 out of 10.

For his third installment, Edgar Wright delivered a well-executed buddy cop satire in Hot Fuzz, which won Best Comedy two years in a row (British Choice Awards and Empire Awards, respectively). The film starts with Nicholas Angel–portrayed by Simon Pegg–an accomplished constable for London’s police force who is reassigned to preside over the idyllic and quiet British countryside village of Sandford. In spite of its rather pristine reputation, there is something dark that lies beneath the village as multiple accidents happen throughout the town that cause Nicholas to become suspicious; reluctantly he brings his new partner, Danny Butterman (Nick Frost), along with him for the endeavor. Wright instills a callback to classic archetypes of the buddy cop action comedy, but turns them up a few notches by challenging expected norms of the genre. However, Wright’s stylistic decision of quick cuts and vivid, flashing colors may be triggering to photosensitive viewers. The easy chemistry flow between Simon Pegg and Nick Frost allows audiences to connect and laugh as these two completely polar opposite characters (a perfectionist workaholic and a fun-loving lackey) learn to work together. The budding friendship leads to loads of comedic moments throughout due to the engaging script and deliveries done by these actors; simultaneously, this plays into the central theme as Pegg’s character learns to loosen up from his perfectionistic outlook, connecting with co-workers he otherwise would’ve ignored if not for Danny. On the other hand, Frost's character learns as they work together that there is more to being a police officer than just the fun, action-fueled sequences shown in movies, and that (while it may be boring) it is just as important. The bluish tint adapted into the film post-production subliminally adds a sterile and cold feeling to these scenes that should be inviting and warm. Conversely, the camera angles used to portray Danny and Nicholas’ relationship indicate their growing closeness by the shots once they get closer, making audiences feel physically closer to these characters. When creating a tense scene within his movies, Wright often implements a mixture of harsher shadows and quick cuts between each piece of action within a scene that is aided further by the implementation of a brash and dramatic score to build up the suspense that the audience should feel. While it does an excellent job of building tension it can leave audiences feeling alienated from the central plot occurring in the story. A selection of crisp sound effects allows the audience to feel engrossed in the movie itself while sometimes executing the usage of explosives that make the scene relatively comedic and unrealistic, fitting into the humorous tone the movie indicates. Hot Fuzz is certainly indicative of a typical buddy cop action comedy by poking fun at the genre in its entirety. While the movie was entertaining, the plot often felt like it was sidestepped to make one more punchline for good measure. Ultimately, Hot Fuzz is an absolute must-watch for those looking for an unserious, fever-dream-like comedy and an introduction to the amateur style of a young Edgar Wright. Final Rating: 8/10

it was great must watch a billion times

Excellent film laugh out loud funny. 8.8/10 great film with a great set of Lead characters a really good story and some good action throughout. Some great scenes and I prefer the ending of. this one compared to Shaun of the Dead. I actually like this more then Shaun

While the scenes were Simon Pegg's character was filling out a report were a little confusing to try and watch, this has become something of a personal favourite in my pop culture knowledge. The action scenes were brilliant, the chemistry between Pegg and Frost is second only to their roles as Graeme and Clive from 'Paul' and I can safely say that Jim Broadbent's performance genuinely scared me, like how your parents do when their seconds away from eruption when you've refused to clean your room for two weeks. I preferred Pegg's performance as a no-nonsense law enforcer to that of his comedic roles I've witnessed for myself.

Best comedy film ever my favourite out of the cornetto trilogy

Edgar Wright es un excelente editor y director, muy infravalorado.

One of the best Simon pegg movies ever him and nick frost are great together

Peak Buddy comedy from beginning to end. Loved it. 😎

It's an energetic action/comedy with great satire and one of the best cop duos ever, that despite the huge amount of plot armor, still keeps you on the edge of your seat in the third act.