SKU: 18266276704

K&N Cellulose Media Fuel Filter 3in OD x 5.625in L

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Description

K&N Cellulose Media Fuel Filter 3in OD x 5.625in LK&N Performance Fuel Filters are built for high flow rates and capacity while they provide outstanding filtration. They have a high strength carbon steel housing and a high performance rolled seam that exceeds OEM pressure requirements. Their high performance cellulose glass media traps contaminants such as rust, dirt, scale and other foreign materials. This Part Fits: Year Make Model Submodel 1986 1997 Ford Aerostar Base 1988 1994 Ford Aerostar Eddie

K&N Performance Fuel Filters are built for high flow rates and capacity while they provide outstanding filtration. They have a high strength carbon steel housing and a high performance rolled seam that exceeds OEM pressure requirements. Their high performance cellulose glass media traps contaminants such as rust, dirt, scale and other foreign materials.

This Part Fits:

Year Make Model Submodel
1986-1997 Ford Aerostar Base
1988-1994 Ford Aerostar Eddie Bauer
1986-1994 Ford Aerostar XL
1989-1994 Ford Aerostar XL Plus
1991-1994 Ford Aerostar XL Sport
1986-1997 Ford Aerostar XLT
1989-1997 Ford Aerostar XLT Plus
1991-1997 Ford Aerostar XLT Sport
1986-1991 Ford Bronco Custom
1986-1991 Ford Bronco Eddie Bauer
1990-1991 Ford Bronco XL
1986-1991 Ford Bronco XLT
1986 Ford Bronco II Base
1986-1990 Ford Bronco II Eddie Bauer
1987-1990 Ford Bronco II XL
1988-1990 Ford Bronco II XL Sport
1986-1990 Ford Bronco II XLT
1989-1990 Ford Bronco II XLT Plus
1997-1998 Ford Contour Base
1995-1998 Ford Contour GL
1995 Ford Contour GL Sport
1995-2000 Ford Contour LX
1995 Ford Contour LX Sport
1995-2000 Ford Contour SE
1996-1997 Ford Contour Sport
1998-2000 Ford Contour SVT
1987-1990 Ford Country Squire Base
1987-1990 Ford Country Squire LX
1992-1997 Ford Crown Victoria Base
1992-1997 Ford Crown Victoria LX
1993-1997 Ford Crown Victoria Police Interceptor
1992-1997 Ford Crown Victoria S
1992 Ford Crown Victoria Touring Sedan
1986 Ford E-150 Econoline Base
1987-1991 Ford E-150 Econoline Custom
1986-1991 Ford E-150 Econoline XL
1986 Ford E-150 Econoline Club Wagon Base
1987-1991 Ford E-150 Econoline Club Wagon Custom
1986-1991 Ford E-150 Econoline Club Wagon XL
1986-1991 Ford E-150 Econoline Club Wagon XLT
1986 Ford E-250 Econoline Base
1987-1991 Ford E-250 Econoline Custom
1986-1991 Ford E-250 Econoline XL
1987-1991 Ford E-250 Econoline Club Wagon Custom
1987-1991 Ford E-250 Econoline Club Wagon XL
1987-1991 Ford E-250 Econoline Club Wagon XLT
1987-1991 Ford E-350 Econoline Custom
1987-1991 Ford E-350 Econoline XL
1987-1991 Ford E-350 Econoline Club Wagon Custom
1987-1991 Ford E-350 Econoline Club Wagon XL
1987-1989,1991 Ford E-350 Econoline Club Wagon XLT
2005-2007 Ford Escape Hybrid
2003-2007 Ford Escape Limited
2001-2008 Ford Escape XLS
2001-2008 Ford Escape XLT
2005 Ford Escape XLT No Boundaries
2005 Ford Escape XLT Sport
1983-1985,1990-1996 Ford Escort Base
1983-1985,1987-1988 Ford Escort GL
1983 Ford Escort GLX
1983-1996 Ford Escort GT
1984-1985 Ford Escort GT Turbo
1985 Ford Escort L
1983-1985,1988-1996 Ford Escort LX
1990-1995 Ford Escort LX Sport
1992-1993 Ford Escort LX-E
1987-1990 Ford Escort Pony
1996 Ford Escort Sport
1983-1984,1988 Ford EXP Base
1983 Ford EXP GT
1983-1984,1987-1988 Ford EXP Luxury
1986-1988 Ford EXP Sport
1984-1985 Ford EXP Turbo
1986 Ford F-150 Base
1987-1991 Ford F-150 Custom
1986-1991 Ford F-150 XL
1986-1991 Ford F-150 XLT Lariat
1986 Ford F-250 Base
1987-1991 Ford F-250 Custom
1986-1991 Ford F-250 XL
1986-1991 Ford F-250 XLT Lariat
1987-1991 Ford F-350 Custom
1987-1991 Ford F-350 XL
1987-1991 Ford F-350 XLT Lariat
1984-1986 Ford LTD Base
1984-1986 Ford LTD Brougham
1983-1986 Ford LTD Country Squire
1986 Ford LTD Country Squire LX
1983-1986 Ford LTD Crown Victoria
1986 Ford LTD Crown Victoria LX
1985 Ford LTD LX Brougham
1987-1991 Ford LTD Crown Victoria Base
1987-1991 Ford LTD Crown Victoria LX
1987-1991 Ford LTD Crown Victoria S
1994-1997 Ford Mustang Base
1983 Ford Mustang GL
1983 Ford Mustang GLX
1984-1997 Ford Mustang GT
1984 Ford Mustang GT-350 20th Anniversary
1995 Ford Mustang GTS
1983-1984 Ford Mustang L
1984-1993 Ford Mustang LX
1984-1986 Ford Mustang SVO
1993-1997 Ford Mustang SVT Cobra
1993 Ford Mustang SVT Cobra R
1983 Ford Mustang Turbo GT
1990-1992 Ford Probe LX
1991-1992 Ford Probe SE
1985-1986 Ford Ranger Base
1987-1992 Ford Ranger Custom
1988-1989 Ford Ranger GT
1986,1988-1992 Ford Ranger S
1990 Ford Ranger S Plus
1993-1994 Ford Ranger Splash
1991-1993 Ford Ranger Sport
1986-1994 Ford Ranger STX
1985-1986,1993-1994 Ford Ranger XL
1985 Ford Ranger XLS
1985-1994 Ford Ranger XLT
1996-1997 Ford Taurus G
1986-1997 Ford Taurus GL
1986-1992 Ford Taurus L
1986-2000 Ford Taurus LX
1986-1988 Ford Taurus MT5
1995,1998-2000 Ford Taurus SE
1998,2000 Ford Taurus SE Comfort
2000 Ford Taurus SEL
2000 Ford Taurus SES
1989-1999 Ford Taurus SHO
2000 Ford Taurus SVG
1987-1989 Ford Tempo AWD
1985-1986 Ford Tempo Base
1985-1994 Ford Tempo GL
1988-1992 Ford Tempo GLS
1985-1986 Ford Tempo GLX
1990-1991 Ford Tempo L
1990-1991 Ford Tempo L AWD
1985-1994 Ford Tempo LX
1990-1991 Ford Tempo LX AWD
1987-1992 Ford Tempo Sport
1983-1988 Ford Thunderbird Base
1984-1986 Ford Thunderbird Elan
1984-1985 Ford Thunderbird Fila
1983 Ford Thunderbird Heritage
1983-1988 Ford Thunderbird LX
1983-1988 Ford Thunderbird Sport
1983-1988 Ford Thunderbird Turbo
1996 Lincoln Continental Anniversary
1983-1994,1998-2002 Lincoln Continental Base
1995 Lincoln Continental Diamond Anniversary
1991-1994 Lincoln Continental Executive
1983-1987 Lincoln Continental Givenchy
1988-1995 Lincoln Continental Signature
1995-1997 Lincoln Continental Spinnaker Edition
1983-1985 Lincoln Continental Valentino
1983 Lincoln Mark VI Base
1983 Lincoln Mark VI Bill Blass
1983 Lincoln Mark VI Pucci
1983 Lincoln Mark VI Signature
1984-1987 Lincoln Mark VII Base
1984-1992 Lincoln Mark VII Bill Blass
1984-1992 Lincoln Mark VII LSC
1984-1985 Lincoln Mark VII Versace
1996 Lincoln Town Car Anniversary
1983-1997 Lincoln Town Car Base
1983-1997 Lincoln Town Car Cartier
1990-1995 Lincoln Town Car Cypress
1990-1997 Lincoln Town Car Executive
1993 Lincoln Town Car Jack Nicklaus
1983-1997 Lincoln Town Car Signature
1989 Lincoln Town Car Signature SE
1990-1995,1997 Lincoln Town Car Touring Edition
1994 Lincoln Town Car Tournament Edition
1994 Mazda B2300 Base
1994 Mazda B2300 SE
1994 Mazda B3000 Base
1994 Mazda B3000 SE
1994 Mazda B4000 LE
1994 Mazda B4000 SE
2001-2004 Mazda Tribute DX
2001-2004 Mazda Tribute ES
2005-2006 Mazda Tribute i
2001-2004 Mazda Tribute LX
2005-2006 Mazda Tribute S
1986 Mercury Capri 5.0
1983 Mercury Capri Base
1983 Mercury Capri Black Magic
1983 Mercury Capri Crimson Cat
1983-1986 Mercury Capri GS
1983 Mercury Capri L
1985 Mercury Capri RS
1984 Mercury Capri RS Turbo
1987-1991 Mercury Colony Park GS
1987-1991 Mercury Colony Park LS
1983-1986,1999-2002 Mercury Cougar Base
1983-1992 Mercury Cougar LS
2001 Mercury Cougar S
1999-2002 Mercury Cougar V6
1984-1997 Mercury Cougar XR-7
1983-1986 Mercury Grand Marquis Base
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SKU: 18266276704

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4.4 ★★★★★
Based on 12 reviews
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Product Reviews
R
Verified Purchase
Ruth
Pawtucket, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 19, 2026
L
Verified Purchase
Lana
San Leandro, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
Verified Purchase
dra
Massapequa, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
Draper, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 25, 2007
M
Verified Purchase
mojo_navigator
Charlottesville, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 26, 2014

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