"Action-packed" confrontations have a really important role to play in a good mystery novel. They keep the reader's attention and they can add a lot of suspense to a mystery if they're done well. For instance, Tony Hillerman's novels (particularly the earlier ones) include some very well-written action scenes. In The Blessing Way, for instance, the climactic confrontation comes as Lt. Joe Leaphorn chases a murderer through the high mesa of Navajo country. Leaphorn's been wounded and he's alone, which of course, adds to the action. Janet Evanovich's Stephanie Plum novels often include such action scenes. In Two for the Dough, for instance, the confrontation takes place in a funeral parlor, with both Stephanie and her grandmother, Grandma Mazur, in imminent danger.
One might say that action scenes are a good "fit" for series like Hillerman's and Evanovich's, where the sleuth is in law enforcement, so one would expect that kind of confrontation. But other authors do the same thing, and some do it quite well. For instance, Robin Cook's Laurie Montgomery and Jack Stapleton (neither of whom is in law enforcement) have been in more than one "action-packed" confrontation with killers. For example, in Contagion, Stapleton ends up trapped by a murderer in a remote vacation cottage. The way in which he escapes adds to the suspense and Cook even manages to add humor to the scene - not an easy task. My personal favorite "action-packed" confrontation is in John Alexander Graham's Something in the Air. In that novel, Professor Jake Landau has a dramatic confrontation with a killer in New York's Grand Central Station. The scene is truly suspenseful, full of action, and kept me on the edge of my proverbial seat. When an action scene is well-written, authentic and richly underlaid with plot and atmosphere, it can add much to a good mystery. Some people argue that such scenes too easily descend to the level of a Hollywood blockbuster car chase scene, and in some novels, they do. But in well-written mystery novels, action scenes are taught and spine-tingling.
In my own Joel Williams series, I avoid the "action-packed" confrontation, although I admire writers such as Hillerman and Carol O'Connor who do it well. That kind of confrontation, I think, wouldn't fit well with Williams' style of sleuthing. He uses his wits, he puts pieces of the puzzle together, and he makes deductions. He doesn't really chase criminals. In general, he helps uncover the criminal and lets the police do the apprehension. It's not that he's afraid of a confrontation; he isn't. But he uses his brain instead of his fists.