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McLeod Hydraulic T.O. Bearing Bolt On Muncie Trans W/Master CylPontiac: Firebird 68 74 5. 7 L Engine, Pontiac: Firebird 67 67 5. 3 L Engine, Pontiac: Catalina 70 71 5. 7 L Engine, Pontiac: Catalina 67 69 7 L Engine, Pontiac: Catalina 64 66 6. 9 L Engine, Pontiac: Bonneville 70 71 7. 5 L Engine, Pontiac: Bonneville 67 69 7 L Engine, Pontiac: Bonneville 67 71 6. 6 L Engine, Pontiac: Bonneville 65 66 6. 9 L Engine, Oldsmobile: Vista Cruiser 70 72 7. 5 L Engine, Oldsmobile: Vista Cruiser 68 69 6. 6 L Engine,
Pontiac: Firebird 68 - 74 5.7 L Engine, Pontiac: Firebird 67 - 67 5.3 L Engine, Pontiac: Catalina 70 - 71 5.7 L Engine, Pontiac: Catalina 67 - 69 7 L Engine, Pontiac: Catalina 64 - 66 6.9 L Engine, Pontiac: Bonneville 70 - 71 7.5 L Engine, Pontiac: Bonneville 67 - 69 7 L Engine, Pontiac: Bonneville 67 - 71 6.6 L Engine, Pontiac: Bonneville 65 - 66 6.9 L Engine, Oldsmobile: Vista Cruiser 70 - 72 7.5 L Engine, Oldsmobile: Vista Cruiser 68 - 69 6.6 L Engine, Oldsmobile: Super 88 64 - 64 6.5 L Engine, Chevrolet: Monte Carlo 70 - 74 7.4 L Engine, Oldsmobile: Starfire 64 - 64 6.5 L Engine, Buick: Sportwagon 68 - 69 6.6 L Engine, Buick: Electra 67 - 67 7 L Engine, Buick: Skylark 70 - 71 7.5 L Engine, Pontiac: Grand Prix 70 - 71 7.5 L Engine, Buick: Century 73 - 74 5.7 L Engine, Chevrolet: Kingswood 70 - 71 7.4 L Engine, Pontiac: Grand Prix 67 - 69 7 L Engine, Buick: Special 67 - 67 3.7 L Engine, Chevrolet: El Camino 64 - 67 4.6 L Engine, Chevrolet: Chevelle 67 - 72 4.1 L Engine, Chevrolet: Bel Air 65 - 72 4.1 L Engine, Chevrolet: Corvette 64 - 68 5.3 L Engine, Chevrolet: Chevy II 67 - 67 4.1 L Engine, Pontiac: Grand Am 73 - 74 6.6 L Engine, Chevrolet: Brookwood 70 - 72 7.4 L Engine, Pontiac: Tempest 66 - 67 3.8 L Engine, Chevrolet: Townsman 70 - 71 7.4 L Engine, Chevrolet: Camaro 70 - 72 6.6 L Engine, Chevrolet: Chevelle 70 - 72 6.6 L Engine, Chevrolet: Brookwood 69 - 69 7 L Engine, Chevrolet: Bel Air 69 - 72 5.7 L Engine, Pontiac: Bonneville 71 - 71 5.7 L Engine, Chevrolet: Townsman 69 - 71 5 L Engine, Chevrolet: Corvette 69 - 74 5.7 L Engine, Chevrolet: Corvette 70 - 74 7.4 L Engine, Chevrolet: Caprice 66 - 67 4.6 L Engine, Chevrolet: Brookwood 69 - 72 5.7 L Engine, Chevrolet: Biscayne 65 - 72 4.1 L Engine, Chevrolet: Camaro 69 - 69 7 L Engine, Chevrolet: Nova 70 - 71 7.4 L Engine, Chevrolet: Camaro 67 - 69 5.3 L Engine, Chevrolet: Corvette 66 - 69 7 L Engine, Chevrolet: Chevy II 64 - 66 3.8 L Engine, Chevrolet: Corvette 65 - 65 6.5 L Engine, Chevrolet: Bel Air 65 - 69 5
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Year Make Model Submodel 1973-1974 Buick Century Base 1967 Buick Electra Base 1967 Buick Gran Sport Base 1970-1971 Buick GS Base 1967-1969 Buick LeSabre Base 1967-1972 Buick Skylark Base 1967-1969 Buick Special Base 1966-1969 Buick Sportwagon Base 1967-1969 Buick Wildcat Base 1965-1972 Chevrolet Bel Air Base 1964-1972 Chevrolet Biscayne Base 1969-1972 Chevrolet Brookwood Base 1967-1975 Chevrolet Camaro Base 1973,1975 Chevrolet Camaro LT 1967,1969-1973,1975 Chevrolet Camaro RS 1967-1972 Chevrolet Camaro SS 1967-1974 Chevrolet Camaro Z28 1966-1972 Chevrolet Caprice Base 1964-1966 Chevrolet Chevelle 300 1970-1972 Chevrolet Chevelle Base 1967,1973-1974 Chevrolet Chevelle Malibu 1968 Chevrolet Chevelle Nomad Custom 1964-1967 Chevrolet Chevy II Base 1964-1974 Chevrolet Corvette Base 1964-1974 Chevrolet El Camino Base 1964-1972 Chevrolet Impala Base 1969-1971 Chevrolet Kingswood Base 1970-1974 Chevrolet Monte Carlo Base 1969-1974 Chevrolet Nova Base 1969-1971 Chevrolet Townsman Base 1972 Dodge B100 Van Base 1965-1971 Oldsmobile 442 Base 1964-1972 Oldsmobile 98 Base 1964-1972 Oldsmobile Cutlass Base 1967-1968 Oldsmobile Delmont 88 Base 1968-1972 Oldsmobile Delta 88 Base 1968 Oldsmobile Delta 88 Custom 1964 Oldsmobile Dynamic 88 Base 1964-1972 Oldsmobile F85 Base 1964-1966 Oldsmobile Jetstar 88 Base 1964-1965 Oldsmobile Jetstar I Base 1964 Oldsmobile Starfire Base 1964 Oldsmobile Super 88 Base 1964-1972 Oldsmobile Vista Cruiser Base 1965-1971 Pontiac Bonneville Base 1965-1970 Pontiac Bonneville Safari 1964-1971 Pontiac Catalina Base 1966-1970 Pontiac Catalina Safari 1967-1970 Pontiac Executive Base 1967 Pontiac Executive Safari 1967-1974 Pontiac Firebird Base 1973-1974 Pontiac Grand Am Base 1965-1971 Pontiac Grand Prix Base 1964-1971 Pontiac GTO Base 1964-1971 Pontiac LeMans Base 1970 Pontiac LeMans Safari 1965-1966 Pontiac Star Chief Base 1966 Pontiac Star Chief Executive 1964-1970 Pontiac Tempest Base 1964-1969 Pontiac Tempest Safari 1971-1974 Pontiac Ventura Base
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4.2 ★★★★★
Based on 25 reviews
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Product Reviews
★★★★★ 5
🫶🏻
Color: Caviar PDRN
I love these. I put these on every morning when I’m getting ready. Sometimes I’ll even leave them on under sunglasses if I’m just doing school drop off 😆 They don’t slide off, they really help brighten and de-puff my under eyes, they have a cooling effect, unscented, and there’s no irritation. They also help concealer go on super smooth. I recommend!
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Reviewed in the United States on May 18, 2026
★★★★★ 5
super hydrating
Color: Caviar PDRN
I love the full face mask but this is nice for a more frequent refresh. They are super convenient and work really well.
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Reviewed in the United States on June 4, 2026
★★★★★ 5
The Perpetual Joke
One of the best films I have ever seen is The Killing. It can boast a great many things. It can proudly say that it is the best heist film ever made and that it is the creme dela creme of film noir. Out of all the films in my top ten favorites, The Killing is easily the most watchable and purely entertaining. It doesn't try to be much more than a crime picture. A crime picture written by the legendary Jim Thompson of course. Thompson is one of the best American crime writers, well ever. And his work in The Killing is simply exemplary and total-classic Thompson. The film can also boast having a brilliant cast. Sterling Hayden, Elisha Cook Jr., and Marie Windsor soar, it can boast having possibly the strongest ensemble in all of the crime genre. It can boast having a pitch perfect tone and a distinctly unique and absorbing atmosphere. It can brag about the extraordinary tracking shots throughout or the lighting that startles and dazzles and vibes, melts. It can brag about being fun and devious and sly. It can brag about being unpredictable and clever. Smart. It can brag about being one the greatest films ever made. It's honestly that perfect.
And did I mention that some guy named Stanley Kubrick directed the thing?
The Killing is a film about a group of men who plan to knock off a racetrack, those who seek to thwart them, and how it all plays out. The characters are unforgettable. The Killing has in it's repertoire more than just a few of my favorite noir characters. What makes the players so special is that all of them are so sympathetic. Really. My heart goes out to each and every one of them, understanding and empathy seldom hits this hard within the parameters of the heist and noir genre. But here, the damn thing works every time. I've seen the film several times and I still physically act as if every time is my first. I cover my hands over my mouth in astonishment, I bite my nails in anticipation, I drum on my knees with rhythmic excitement, I laugh out loud, and I cheer relentlessly for everyone involved. I imagine myself as a member of the outfit. I have so much fun with this twisted picture that it's ridiculous.
Okay.
Lucien Ballard. Dick Tower. Earl Snyder. The men who walk the walk. One of the most dazzling things about The Killing is it's technical brilliance. The thing looks absolutely gorgeous and twisted and just right. Smokey and sexy and rough. There are shots in this film that your eyes can more than feast on, they can devour them. There are sequences of sight and sound and light that will make you fall in love with noir all over again. If that's not enough, Jim Thompson's dialogue will make your head spin it's so good. You'll find yourself quoting it to yourself without warrant or cause. The beats and the meter and time and scale of Thompson's writing will send you for a ride. Great dialogue and a truly complex and understated plot, the inner workings of which are not only of the heart-pounding variety but the very fabric that it is woven into is absolutely compelling.
There is a subtext here as well. I don't think Kubrick ever really made a film just for the sake of doing so, he always had something deeper to communicate on top of it. The Killing communicates within the subtext the idea of the perpetual joke. Borderline Absurdism. Characters die literally howling about not being able to understand their own private punchline. Robberies take place by men in the guise of clowns. Think Hayden Sterling as Pagliacci The Clown. The Killing feels like a crime film written by Jim Thompson, directed by Stanley Kubrick, and dreamt up by Albert Camus. The idea that everything is absurd, that life is a frenzied haywire with a morbid sense of humor. I think Sterling's Johnny finally understood the great joke of life at the end of it all. And its pointless brand of mischief.
It is fascinating seeing the great Stanley Kubrick, before he really was the GREAT Stanley Kubrick, working within the framework of the crime genre. Kubrick excels here, even if he was limited by boundaries of style and time. He is a filmmaker that mastered every genre he dabbled in. He is not only one of the greatest directors that ever lived but he is my personal favorite one. His films have a crazy power, an uncanny transcendental quality to them. The Killing possesses every bit as much magic that his post 2001 films do. The Killing has a little bit more than that as well. It has an incredible watchability factor. I could watch The Killing once a week for the rest of my life and still not get tired of it.
I think I'll do just that. Why not? You only live once, right?
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Reviewed in the United States on July 17, 2014
★★★★★ 5
Worth viewing and studying.
First major Kubrick feature film noir. Nothing about Sterling Hayden's Communism here. Cool caper with a classic cast. The flick provides an impactful reminder to never skimp on low quality luggage, to use a double lock, and to take time whenever possible to bundle your cash with rubber bands.
"While playing chess in Washington Square, Kubrick met producer James B. Harris, who considered Kubrick to be "the most intelligent, most creative person I have ever come in contact with", and the two formed the Harris-Kubrick Pictures Corporation in 1955.[52] Harris purchased the rights to Lionel White's novel Clean Break for $10,000,[g] and upon Kubrick's suggestion, they hired film noir novelist Jim Thompson to write the script for the film—which later became The Killing (1956)—about a meticulously planned racetrack robbery gone wrong. The film starred Sterling Hayden, with whom Kubrick had been impressed in The Asphalt Jungle (1950).[54] Kubrick and Harris moved to Los Angeles from New York and signed with the Jaffe Agency to shoot the picture, which became Kubrick's first full-length feature film shot with a professional cast and crew. The Union in Hollywood stated that Kubrick would not be permitted to be both the director and the cinematographer of the movie, so veteran cinematographer Lucien Ballard was hired for the shooting. Kubrick agreed to waive his fee for the production, which was shot in just 24 days on a budget of $330,000.[55] He clashed with Ballard during the shooting, and on one occasion Kubrick threatened to fire Ballard following a camera dispute, despite being only 27 years old at the time and 20 years Ballard's junior.[54] Hayden recalled that Kubrick was "cold and detached. Very mechanical, always confident. I've worked with few directors who are that good".[56] The Killing failed to secure a proper release across the United States; the film made little money, and was promoted only at the last minute, as a second feature to the Western movie Bandido! (1956). Several contemporary critics lauded the film, however, with a reviewer for TIME comparing its camerawork to that of Orson Welles.[57] Today, critics generally consider The Killing to be among the best films of Kubrick's early career; its nonlinear narrative and clinical execution also had a major influence on later directors of crime films, including Quentin Tarantino. Dore Schary of Metro-Goldwyn-Mayer was highly impressed as well, and offered Kubrick and Harris $75,000 to write, direct, and produce a film, which ultimately became Paths of Glory (1957)." [Wikipedia]
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Reviewed in the United States on February 21, 2016
★★★★★ 5
Quintessential 50's Kubrick Noir!
Criterion continues to keep them coming. The Killing(1956), Stanley Kubrick's great noir adds to the recent influx of Criterion's recent titles in 2011, which closely follows Kiss Me Deadly(1955). What a feast for Noir addicts! Now we have another pristine upgrade of a print which greatly improves past releases in both quality as well as great special features. This time we get two jam filled discs of a very important Noir. This two-dvd special edition includes a bounty of goodies for lovers of Noir. There is a new digital restoration, which is excellent, as well as a new interview with producer James B Harris. Interviews with lead actor Sterling Haden, who is excellent in his role as the small-time criminal who plans a dangerous race-track heist with help from a corrupt cop, and an interview with author Robert Polito about writer Jim Thompson. That is just on the first disc, Disc two includes a richly restored high-def digital transfer of Kubrick's 1955 feature Killer's Kiss, new video appreciation of Killer's Kiss by film critic Geoffrey O'Brien, and a new trailer. Of course, you also get a 20 page booklet featuring an essay by film historian Haden Guest and an interview with actress Marie Windsor, which is a reprint but still quite good. Now on to the feature. The Killing was Kubrick's 3rd feature, and to most film historians, the one that put him on the map, although some people would favor Paths Of Glory which was released in the next year 1957 as his breakthrough as a major director. I beg to differ. The Killing is told in a non-linear style which many movie goers have difficulty following, even now in the 21st Century. But to lovers of Noir, by 1956 they had become quite used to it and had no problem with it. In fact, many noir lovers enjoyed putting the pieces together which to them, only added to the experience. The film displays what has become a very familiar Kubrick theme. That is the breakdown, malfunction or fallibility of man and his plans. Just as in Kubrick's subsequent films such as Dr. Strangelove and further on to 2001:A Space Odyssey which became major mainstream successes. His manipulation of time in bits and pieces differs most strikingly from 40's Noir, such as The Killers and Out Of The Past. As players inthis game are established, the film leaps backwards until all of the parts fit together like the pieces of a jigsaw puzzle. The well planned heist falls apart just like the suitcase full of money falls off a cart and scatters the bills in the wind. Just as they say, "The Best Laid Plans". In addition to Hayden, the other members of the heist, especially Vince Edwards, Elisha Cook Jr, and especially Timothy Carey, are all excellent. Most definitely, pay the extra money and get this edition. SMRZ!!!
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Reviewed in the United States on September 15, 2011