Approximately 90 minutes into “Hot Fuzz”, Simon Pegg, portraying a tough-as-nails English policeman, jump-kicks an old lady in the face. So much for dry British wit. Surprisingly though, it’s over-the-top scenes like this – and many others peppered throughout the film – that make “Hot Fuzz” work. The action-comedy, written and directed by the same duo responsible for 2004’s hilarious zombie romp “Shaun of the Dead”, follows the exploits of Sergeant Nicolas Angel (Pegg), formerly of the London Metropolitan Police, as he investigates a series of murders in Sandford, England, a sleepy country village where the crime rate is very low but the ‘accident’ rate is curiously high. If previous experiences with British comedy films have left you scratching your head and wondering what everyone around you finds so funny (or worse – how they can possibly understand what any of the actors are saying), then “Hot Fuzz” was made specifically for you. While there’s plenty of “Monty Python”-esque silliness to go around, and certainly no shortage of dry wit, it’s obvious that the writers of “Hot Fuzz” (Pegg and director Edgar Wright) intended to make a film that would be accessible to audiences in the US, and as a result much of the humor resembles that found in clever works of American parody like “South Park” and “Austin Powers”. Pegg’s performance is supported by a stellar ensemble cast that includes Nick Frost as an overweight constable obsessed with cheesy American action films, former-007 Timothy Dalton in a farcical role as a devious supermarket manager, and Paddy Considine (“24 Hour Party People”, “In America”) and Rafe Spall as a pair of surly, mustachioed, and incompetent detectives. There are also cameos galore, ranging from well-known British comedians like Martin Freeman (“Hitchhiker’s Guide”, “The Office”) and Steve Coogan to heavy-hitting dramatic actors like Bill Nighy and Cate Blanchett. “Hot Fuzz” derives much of its charm – and all of its laughs – from Pegg’s frustrating interactions with Sandford’s local townsfolk (including their Neighborhood Watch Association – the NWA) and it’s bumbling police force (two victims whose heads are removed in an auto collision are described by one officer as having been “decaffeinated”). The shakiest parts of the film come in the beginning, where Wright can’t seem to decide if he’s directing an action flick or a comedy, and the “Requiem for a Dream”-like transitions that he uses feel out of place and superfluous. However, this problem is quickly solved as the film progresses and the action in the script actually becomes the main source of its comedy. In fact, the final scene in the film is an extravagant homage/send-up of the various clichéd action sequences that Frost’s character references incessantly, replete with trademark Michael Bay wraparound shots a la “Bad Boys II” and the “Rock” – and, of course, two guys jumping sideways through the air while simultaneously shooting guns in both hands. “Hot Fuzz” isn’t destined to become a classic, but it’s an exceedingly fun film, and a great way to spend 2 hours. If you’re looking for sight gags and over-the-top humor, you won’t be disappointed, and if you’re a comedic anglophile, there are pikey references and Cornetto jokes abound. “Hot Fuzz” has laughs for yanks and limeys alike.