There's just something remarkably awesome about Coraline packing up a bunch of everyday items as her Lock And Load montage. The music helps it along—you just know in that moment that this girl is something else.
After Coraline has escaped the Other Mother's metal spider web and climbed through the little door into the hallway, the Other Mother pries the door open and hisses - and Coraline kicks her in the face.
Wybie gets his own moment in the sun. After the Other Wybie heroically rescues Coraline, knowing how the Other Mother would punish his betrayal, the real Wybie calls Coraline crazy before getting chased away - Not particularly auspicious. But then at the end, when Coraline is being dragged by the Other Mother's disembodied hand, he comes riding down out of the dark to grab the hand, fall into the well, then climb back out in time to smash the thing to smithereens. And then he apologizes for insulting her and calls her "Coraline" - The first time anyone in the Pink Palace has gotten her name right.
After being attacked by an entire garden of the most horrible things Neil Gaiman can imagine, Coraline still strides into the theatre isle, watched by all those dead dogs, and shows nothing but determination. Taken A Level In Badass, indeed.
The movie's mere existence is a huge CMOA to the world of stop-motion, 3D and animations in general. It utterly annihilates almost every single limitation of stop-motion.
Coraline and Wybie's final battle with the Other Mother... or at least her hand
That said, the whole movie is possibly the biggest CMOA in the history of stop-motion.
This line, just for the awesome snarkiness and the fact that it can be used in so many conversations:
Coraline: "Cats can't talk."
Cat: "Well, you're clearly the expert in these matters."
Coraline cleverly sets up her picnic blanket on top of the garden well and lets the Other Mother's hand fall in. She even brings along dolls for "protective coloration", a concept mentioned briefly in the beginning of the book.