SKU: 41815704420

Cometic Chrysler B/RB V8 .092in MLS Cylinder Head Gasket - 4.410in Bore

$158.35 $175.95
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Description

Cometic Chrysler B/RB V8 .092in MLS Cylinder Head Gasket - 4.410in BoreThe Cometic MLS gasket is comprised of three to five layers of stainless steel. Cometic uses stainless steel for increased strength, its ability to rebound and resist corrosion. The outer layers of the gasket are embossed and coated on both sides with a Viton rubber material designed to meet the demands of a variety of harsh sealing environments, load conditions and surface finishes. The Viton coating is heat resistant to 250C or 482F. This Part Fits:

The Cometic MLS gasket is comprised of three to five layers of stainless steel. Cometic uses stainless steel for increased strength, its ability to rebound and resist corrosion. The outer layers of the gasket are embossed and coated on both sides with a Viton rubber material designed to meet the demands of a variety of harsh sealing environments, load conditions and surface finishes. The Viton coating is heat resistant to 250°C or 482°F.

This Part Fits:

Year Make Model Submodel
1969-1974 Bristol 411 Base
1959-1971 Chrysler 300 Base
1962-1963 Chrysler 300 Sport
1975-1978 Chrysler Cordoba Base
1966-1967 Chrysler Imperial Base
1959-1970 Chrysler Imperial Crown
1959-1960,1962-1975 Chrysler Imperial LeBaron
1963,1966-1974 Chrysler New Yorker Base
1972-1978 Chrysler New Yorker Brougham
1961-1971,1973-1978 Chrysler Newport Base
1967-1976 Chrysler Newport Custom
1971-1972 Chrysler Newport Royal
1959-1960 Chrysler Saratoga Base
1959-1977 Chrysler Town & Country Base
1959-1961 Chrysler Windsor Base
1959-1960 DeSoto Adventurer Base
1959 DeSoto Firedome Base
1959 DeSoto Fireflite Base
1963-1964 Dodge 330 Base
1963-1964 Dodge 440 Base
1962-1965 Dodge 880 Base
1962-1965 Dodge 880 Custom
1974 Dodge B100 Van Base
1974 Dodge B100 Van Sportsman
1975-1978 Dodge B200 Base
1971-1974 Dodge B200 Van Base
1972-1974 Dodge B200 Van Maxi
1972-1974 Dodge B200 Van Maxi Wagon
1971-1974 Dodge B200 Van Sportsman
1975-1978 Dodge B300 Base
1971-1974 Dodge B300 Van Base
1972-1974 Dodge B300 Van Maxi
1972-1974 Dodge B300 Van Maxi Wagon
1971-1974 Dodge B300 Van Sportsman
1976-1979 Dodge CB300 Base
1970-1974 Dodge Challenger Base
1970-1971 Dodge Challenger R/T
1972 Dodge Challenger Rallye
1969-1971 Dodge Charger 500
1966-1974,1976 Dodge Charger Base
1969 Dodge Charger Daytona
1967-1971 Dodge Charger R/T
1969 Dodge Charger SE
1971-1978 Dodge Charger Special Edition
1976 Dodge Charger Sport
1971 Dodge Charger Super Bee
1965-1970 Dodge Coronet 440
1965-1970 Dodge Coronet 500
1958-1959,1965-1966,1970-1976 Dodge Coronet Base
1971,1975-1976 Dodge Coronet Brougham
1971-1976 Dodge Coronet Crestwood
1971-1975 Dodge Coronet Custom
1966-1970 Dodge Coronet Deluxe
1967-1970 Dodge Coronet R/T
1968-1970 Dodge Coronet Super Bee
1958-1961 Dodge Custom Base
1975-1978 Dodge D100 Custom
1976-1978 Dodge D100 Warlock
1968-1974 Dodge D100 Pickup Base
1967 Dodge D100 Series Base
1977-1978 Dodge D150 Base
1978 Dodge D150 Li'l Red Express
1977-1978 Dodge D200 Base
1975-1976 Dodge D200 Custom
1968-1974 Dodge D200 Pickup Base
1967 Dodge D200 Series Base
1977-1978 Dodge D300 Base
1975-1976 Dodge D300 Custom
1968-1974 Dodge D300 Pickup Base
1967 Dodge D300 Series Base
1967-1968 Dodge Dart 270
1962 Dodge Dart 330
1962 Dodge Dart 440
1960-1962,1967-1969 Dodge Dart Base
1969 Dodge Dart Custom
1967-1969 Dodge Dart GT
1968-1969 Dodge Dart GTS
1960-1961 Dodge Dart Phoenix
1960-1961 Dodge Dart Pioneer
1969 Dodge Dart Swinger
1958-1959 Dodge Lancer Base
1978 Dodge Magnum XE
1960 Dodge Matador Base
1967-1968 Dodge Monaco 500
1965-1978 Dodge Monaco Base
1974,1977-1978 Dodge Monaco Brougham
1977-1978 Dodge Monaco Crestwood
1974 Dodge Monaco Custom
1975-1976 Dodge Monaco Royal
1975-1976 Dodge Monaco Royal Brougham
1960-1961 Dodge Phoenix Base
1961 Dodge Pioneer Base
1963,1968-1969 Dodge Polara 500
1960-1973 Dodge Polara Base
1971 Dodge Polara Brougham
1970-1973 Dodge Polara Custom
1970 Dodge Polara Special
1974-1978 Dodge Ramcharger Base
1975-1978 Dodge Ramcharger SE
1958-1959 Dodge Royal Base
1975-1977 Dodge Royal Monaco Base
1975-1977 Dodge Royal Monaco Brougham
1961 Dodge Seneca Base
1958-1959 Dodge Sierra Base
1958-1959 Dodge Sierra Custom
1958 Dodge Suburban Base
1975-1977 Dodge W100 Custom
1968-1974 Dodge W100 Pickup Base
1967 Dodge W100 Series Base
1977-1978 Dodge W150 Base
1968-1974 Dodge W300 Pickup Base
1967 Dodge W300 Series Base
1960-1963 Dual-Ghia L6.4 Base
1959-1963 Facel Vega Excellence Base
1962-1964 Facel Vega Facel II Base
1959-1961 Facel Vega HK500 Base
1964-1966 Jensen C-V8 Base
1967-1971 Jensen Interceptor FF
1967-1969 Jensen Interceptor MK I
1970-1971 Jensen Interceptor MK II
1972-1976 Jensen Interceptor MK III
1972-1973 Jensen Interceptor SP
1964,1967-1972 Plymouth Barracuda Base
1970-1971 Plymouth Barracuda Gran Coupe
1959-1970 Plymouth Belvedere Base
1968-1970 Plymouth Belvedere Satellite
1965-1967 Plymouth Belvedere II Base
1970-1972 Plymouth Cuda Base
1959-1961 Plymouth Custom Base
1960-1963 Plymouth Fleet Special Base
1959-1967,1975-1978 Plymouth Fury Base
1971,1975 Plymouth Fury Custom
1968,1970-1975 Plymouth Fury Custom Suburban
1970,1972 Plymouth Fury Gran Coupe
1972 Plymouth Fury Gran Sedan
1970 Plymouth Fury GT
1974 Plymouth Fury Police
1970 Plymouth Fury S-23
1976-1978 Plymouth Fury Salon
1959,1962-1971,1975-1978 Plymouth Fury Sport
1970-1971 Plymouth Fury Sport GT
1968,1970-1978 Plymouth Fury Sport Suburban
1968,1970-1978 Plymouth Fury Suburban
1966,1968-1969 Plymouth Fury VIP
1968-1974 Plymouth Fury I Base
1969,1971,1974 Plymouth Fury I Suburban
1965-1966,1968-1974 Plymouth Fury II Base
1968-1969,1973 Plymouth Fury II Custom Suburban
1965-1974 Plymouth Fury III Base
1968-1969 Plymouth Fury III Sport Suburban
1972-1977 Plymouth Gran Fury Base
1975-1977 Plymouth Gran Fury Brougham
1975-1976 Plymouth Gran Fury Custom
1972-1973,1975-1976 Plymouth Gran Fury Custom Suburban
1975-1977 Plymouth Gran Fury Sport
1972-1973,1975-1977 Plymouth Gran Fury Sport Suburban
1972-1973,1975-1977 Plymouth Gran Fury Suburban
1967-1971 Plymouth GTX Base
1976-1978 Plymouth PB200 Voyager
1974 Plymouth PB200 Van Voyager
1974 Plymouth PB200 Van Voyager EX
1974 Plymouth PB200 Van Voyager EX Wagon
1976-1978 Plymouth PB300 Voyager
1974 Plymouth PB300 Van Voyager
1974 Plymouth PB300 Van Voyager EX
1974 Plymouth PB300 Van Voyager EX Wagon
1968-1975 Plymouth Road Runner Base
1965-1974 Plymouth Satellite Base
1971 Plymouth Satellite Brougham
1971-1974 Plymouth Satellite Custom
1971-1974 Plymouth Satellite Regent
1971-1974 Plymouth Satellite Sebring
1971-1974 Plymouth Satellite Sebring Plus
1968-1970 Plymouth Satellite Sport
1959-1964 Plymouth Savoy Base
1960-1961 Plymouth Savoy Deluxe
1960-1961 Plymouth Sport Wagon Base
1959-1961 Plymouth Suburban Base
1960-1961 Plymouth Suburban Custom
1960-1961 Plymouth Suburban Sport
1970 Plymouth Superbird Base
1974-1978 Plymouth Trailduster Base
1967 Plymouth VIP Base
Shipping Notes
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Exchange/Return Notes
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SKU: 41815704420

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4.7 ★★★★★
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L.m
Houston, US
★★★★★ 5
Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands, This stuff I'm already noticing a difference in wrinkles and it's so soothing. Just buy it and try it for yourself, I'll definitely be buying more
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 27, 2025
M
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MB
Los Angeles, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
R
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Ruth
Massapequa, 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.
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Reviewed in the United States on March 19, 2026
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Lana
Natrona Heights, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
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dra
Lake Worth, 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

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