Johnny Five defeating the three SAINT prototypes in one-on-one (pacifistic) combat, then reprogramming them... into The Three Stooges.
Frank threatens to turn Number Five over to NOVA. Johnny Five retaliates by completely dismantling his car when he's not looking.
Johnny's Red Eyes, Take Warning when Stephanie is threatened by Frank, who's holding the drive shaft from his car that Johnny just dismantled. He then uses his laser to slice the drive shaft apart (piece-by-piece at that), followed by zapping the brim of the guy's hat, the heels of his boots and the belt buckle on his pants. The result is complete humiliation, with the worst damage to the guy being his feet a little crispy, and yet still oh-so-badass.
Number 5:NO! No disassemble Stephanie!
As a bonus, each of #5's laser blasts is accompanied by an exaggerated martial-arts yell. Just because he's a pacifist doesn't mean J-Five can't have a little fun.
Johnny rushing into the bar to save Stephanie from the NOVA agents.
It's quiet badassery, but still badassery. Johnny looks his creator in the eye and demonstrates that he might be the most moral guy in the script.
Crosby: Of course I know it's wrong to kill, but who told you?
Johnny Five's reaction to having a gun pulled on him:
Johnny Five:(snatches the pistol of the gunman's hand and examines it) Colt .45. Semi-automatic. (casually crushes the gun) Play-doh.
Howard firing Skroeder at the end of the film.
Johnny 5 managing to fake his death at the end.
Short Circuit 2:
Johnny Five's Roaring Rampage of Revenge after Oscar and his gang leave him for dead. Basically everything starting from his infuriating realization that the bad guys simply locked Ben and Fred in a freezer but tried to smash him to bits because he's just a machine. From there, Johnny is 100% boots-to-asses.
Johnny: You will not get away! I am really pissed off!!
Special mention for playing Bonnie Tyler's "Holding Out For A Hero" as Awesome Music.
Ben and Fred have the idea to free themselves from the freezer by sending Sandy music through the phone. With a calculator. And Sandy actually figures out the clues (with the help of a pretty gung-ho cab driver) and rescues them!
The awesomeness of this, especially for the production team, is incalculable. They managed three things about this.
Firstly, the entire medley is genuinely done using short-press tones, rather than some 'close enough' tones. In the modern day, this would be easy, and there's probably programmes that could replicate the entire thing. Not when they made this film.
Secondly, at least for 'He-l-p Me Rho-n-da, He-l-p He-l-p Me Rho-n-da,', they speak OUT LOUD the exact series of key tones.
Finally, All the songs do a very sloppy, but more than acceptable, route around New York that still works!