SKU: 76764369279

Skyjacker Black Max Shock Absorber 1994-1994 Honda Passport

$67.21 $74.68
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Description

Skyjacker Black Max Shock Absorber 1994-1994 Honda PassportBlack MAX twin tube shock absorbers have increased fluid capacity and utilize foam cell technology. When the shock is working hard and gets hot, the foam cell insert compresses to compensate for oil expansion which maintains consistent MAX performance throughout the operating temperature range of the shock. The foam cell design also eliminates air inside the shock which allows for mounting in any direction. Arc welded end mounts and select specific

Black MAX twin tube shock absorbers have increased fluid capacity and utilize foam-cell technology. When the shock is working hard and gets hot, the foam-cell insert compresses to compensate for oil expansion which maintains consistent MAX performance throughout the operating temperature range of the shock. The foam-cell design also eliminates air inside the shock which allows for mounting in any direction. Arc-welded end mounts and select specific valving give this shock absorber MAX value.

This Part Fits:

Year Make Model Submodel
1987-1996 Dodge Dakota Base
1987-1993 Dodge Dakota LE
1987-1991 Dodge Dakota SE
1994-1996 Dodge Dakota SLT
1988-1996 Dodge Dakota Sport
1994-1996 Dodge Dakota WS
1980-1993 Ford Bronco Custom
1985-1996 Ford Bronco Eddie Bauer
1980-1981 Ford Bronco Ranger XLT
1990-1996 Ford Bronco XL
1982-1983 Ford Bronco XLS
1984-1992,1994-1996 Ford Bronco XLT
1982-1983,1993 Ford Bronco XLT Lariat
1992 Ford Bronco XLT Nite
1995-1996 Ford Bronco XLT Sport
1984-1986 Ford Bronco II Base
1984-1990 Ford Bronco II Eddie Bauer
1987-1990 Ford Bronco II XL
1988-1990 Ford Bronco II XL Sport
1984-1985 Ford Bronco II XLS
1984-1990 Ford Bronco II XLT
1989-1990 Ford Bronco II XLT Plus
1991-1994 Ford Explorer Eddie Bauer
1993-1994 Ford Explorer Limited
1991-1994 Ford Explorer Sport
1991-1994 Ford Explorer XL
1991-1994 Ford Explorer XLT
1970-1974,1976-1978 Ford F-100 Base
1975-1979 Ford F-100 Custom
1975-1978 Ford F-100 Northland
1975-1979 Ford F-100 Ranger
1978-1979 Ford F-100 Ranger Lariat
1975-1979 Ford F-100 Ranger XLT
1977 Ford F-100 XLT
1976-1978,1983-1986,1997 Ford F-150 Base
1975-1982,1987-1992 Ford F-150 Custom
1995-1996 Ford F-150 Eddie Bauer
1997 Ford F-150 Lariat
1975-1978 Ford F-150 Northland
1975-1981 Ford F-150 Ranger
1978-1981 Ford F-150 Ranger Lariat
1975-1981 Ford F-150 Ranger XLT
1995-1996 Ford F-150 Special
1982-1997 Ford F-150 XL
1982-1983 Ford F-150 XLS
1977,1983-1984,1993-1997 Ford F-150 XLT
1982,1985-1992 Ford F-150 XLT Lariat
1983-1986 Ford F-250 Base
1980-1982,1987-1992 Ford F-250 Custom
1995-1996 Ford F-250 Eddie Bauer
1980-1981 Ford F-250 Ranger
1980-1981 Ford F-250 Ranger Lariat
1980-1981 Ford F-250 Ranger XLT
1995-1996 Ford F-250 Special
1982-1996 Ford F-250 XL
1982-1983 Ford F-250 XLS
1983-1984,1993-1996 Ford F-250 XLT
1982,1985-1992 Ford F-250 XLT Lariat
2005-2016 Ford F-250 Super Duty King Ranch
2005-2016 Ford F-250 Super Duty Lariat
2005-2016 Ford F-250 Super Duty XL
2005-2016 Ford F-250 Super Duty XLT
1983-1986 Ford F-350 Base
1980-1982,1987-1992 Ford F-350 Custom
1995 Ford F-350 Eddie Bauer
1980-1981 Ford F-350 Ranger
1980-1981 Ford F-350 Ranger Lariat
1980-1981 Ford F-350 Ranger XLT
1995-1996 Ford F-350 Special
1982-1996 Ford F-350 XL
1982-1983 Ford F-350 XLS
1983-1984,1993-1996 Ford F-350 XLT
1982,1985-1992 Ford F-350 XLT Lariat
2005-2016 Ford F-350 Super Duty King Ranch
2005-2016 Ford F-350 Super Duty Lariat
2013-2016 Ford F-350 Super Duty Platinum
2005-2016 Ford F-350 Super Duty XL
2005-2016 Ford F-350 Super Duty XLT
1983,1985-1986 Ford Ranger Base
1987-1992 Ford Ranger Custom
1988-1989 Ford Ranger GT
1984,1986-1992 Ford Ranger S
1990 Ford Ranger S Plus
1993-1997 Ford Ranger Splash
1991-1993,1997 Ford Ranger Sport
1986-1997 Ford Ranger STX
1983-1986,1993-1997 Ford Ranger XL
1995 Ford Ranger XL Sport
1983-1985 Ford Ranger XLS
1983-1997 Ford Ranger XLT
1994-1995 Honda Passport EX
1994-1995 Honda Passport LX
1989-1994 Isuzu Amigo S
1989-1994 Isuzu Amigo XS
1981-1982,1987 Isuzu Pickup Base
1981-1986 Isuzu Pickup DLX
1983,1986-1992 Isuzu Pickup LS
1984-1985 Isuzu Pickup LX
1988-1995 Isuzu Pickup S
1989-1990 Isuzu Pickup XS
1991-1997 Isuzu Rodeo LS
1991-1997 Isuzu Rodeo S
1991-1992 Isuzu Rodeo XS
1984-1985 Isuzu Trooper Base
1986-1987 Isuzu Trooper DLX
1986-1991 Isuzu Trooper LS
1986 Isuzu Trooper LX
1989-1990 Isuzu Trooper RS
1988-1991 Isuzu Trooper S
1991 Isuzu Trooper SE
1988-1991 Isuzu Trooper XS
1986-1987 Mazda B2000 Base
1986-1987 Mazda B2000 LX
1986-1987 Mazda B2000 SE-5
1987-1993 Mazda B2200 Base
1990-1993 Mazda B2200 LE-5
1987-1989 Mazda B2200 LX
1987-1993 Mazda B2200 SE-5
1994-1997 Mazda B2300 Base
1994-1997 Mazda B2300 SE
1987-1993 Mazda B2600 Base
1990-1993 Mazda B2600 LE-5
1987-1989 Mazda B2600 LX
1987-1993 Mazda B2600 SE-5
1994-1996 Mazda B3000 SE
1997 Mazda B4000 Base
1994-1996 Mazda B4000 LE
1994-1997 Mazda B4000 SE
1992-1994 Mazda Navajo DX
1991-1994 Mazda Navajo LX
1985-1986 Nissan 720 Base
1983-1986 Nissan 720 Deluxe
1985-1986 Nissan 720 Sport Truck
1990-1992 Nissan D21 Base
1986-1989 Nissan D21 E
1986-1992 Nissan D21 SE
1986-1989 Nissan D21 XE
1987 Nissan Pathfinder E
1987-1993 Nissan Pathfinder SE
1987-1993 Nissan Pathfinder XE
1989 Suzuki Samurai Base
1986-1988 Suzuki Samurai JA
1990-1992 Suzuki Samurai JL
1986-1988 Suzuki Samurai JX
1986-1987 Suzuki Samurai JX SE
1984-1985 Toyota 4Runner DLX
1984-1985,1990-1995 Toyota 4Runner SR5
1984-1985 Toyota Pickup Base
1980-1985 Toyota Pickup DLX
1981-1985 Toyota Pickup SR5
1993 Toyota T100 Base
1996-1997 Toyota T100 DLX
1994-1995 Toyota T100 DX
1993-1997 Toyota T100 SR5
Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 76764369279

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4.2 ★★★★★
Based on 29 reviews
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L
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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
Verified Purchase
MB
Massapequa, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 10, 2026
R
Verified Purchase
Ruth
Grantham, 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
L
Verified Purchase
Lana
Carnegie, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
Verified Purchase
dra
Alexandria, 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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