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Description
M18 FUEL 18-Volt Lithium-Ion Brushless Cordless Jig Saw and Band Saw with (2) 6.0Ah BatteriesThe M18 FUEL Brushless Cordless D Handle Jig Saw combines power, blade speed and precision, to provide the highest quality cuts in a wide variety of materials. The M18 FUEL D Handle Jig saw leverages the POWERSTATE Brushless Motor and REDLINK PLUS Intelligence to provide higher blade speed than corded jig saws at 3500 strokes per minute for clean controlled cuts with minimized chipping or bucking. The saw features tool less blade change, tool free
The M18 FUEL Brushless Cordless D-Handle Jig Saw combines power, blade speed and precision, to provide the highest quality cuts in a wide variety of materials. The M18 FUEL D-Handle Jig saw leverages the POWERSTATE Brushless Motor and REDLINK PLUS Intelligence to provide higher blade speed than corded jig saws at 3500 strokes per minute for clean controlled cuts with minimized chipping or bucking. The saw features tool-less blade change, tool free bevel adjust with detents at 0, 15, 30 and 45 as well as an LED light and on/off blower to keep the cut line visible while cutting. The M18 FUEL Band Saw cuts faster than its corded counterparts, provides the same legendary durability of a Milwaukee corded band saw and delivers up to 2X more run time than other cordless options. It also delivers the same legendary durability that has made Milwaukee Corded Deep Cut Band Saws second to none for decades by utilizing over 90% of the same parts. The M18 REDLITHIUM HIGH OUTPUT XC6.0 Battery Pack provides 50% more power and runs 50% cooler versus M18 REDLITHIUM XC battery packs. The optimized combination of size and increased power provides a great solution for the entire range of M18 products.- POWERSTATE brushless motor: increased SPM and the power to cut hard materials, including hardwoods and metals
- REDLINK PLUS Intelligence: the most advanced system of cordless power tool electronics, provides optimized performance and overload protection using total system communication between tool, battery and charger
- REDLITHIUM battery technology: superior pack construction, electronics and performance deliver more work per charge and more work over pack life than any battery on the market
- 4-position orbital cutting provides versatility for application specific cutting
- Tool free shoe bevel with positive stops allows for quick and accurate shoe adjustment with detents at 0°, 15°, 30° and 45°
- Variable speed trigger between 0 and 3500 strokes per minute, providing precise control for clean cuts with less chipping
- On/off cut line blower keeps the cut line clear of debris and allows user to turn off blower when using dust extraction
- LED light illuminates the cut line
- Accepts T-shank jig saw blades
- Includes dust cover and dust extraction tube
- Includes non-marring shoe cover for protection of finished surfaces
- Compatible with over 200 plus tools on the M18 platform
- Compatible with all M18 batteries
- Includes: (1) 2737-20 M18 FUEL D-handle jig saw (tool-only), (1) anti-splinter guard, (1) dust collection tube, (1) dust cover, (1) general purpose jigsaw blade, (1) hex wrench, (1) shoe guard, (1) 2729-20 M18 FUEL deep cut band saw and (1) blade, (2) M18 REDLITHIUM HIGH OUTPUT XC 6.0 Ah battery packs
- 2729-20: industry's largest cut capacity: versatility to cut up to 5 in. x 5 in. material in 1 pass and adjustable shoe allows for less tool rotation when cutting material above 5 in.
Features
| Item Weight | 4.85 |
| Included Accessories | Blades |
| Number of Batteries Included | 2 |
| Color Family | Red |
| Cordless Tool Type | Jig Saw |
| Power Tool Features | Adjustable Shoe,Keyless Blade Change,No Tool Blade Change,Scrolling Action,Variable Speed |
| Returnable | 180-Day |
| Cordless/ Corded | Cordless |
| Battery Power Type | Lithium Ion |
| Number of Tools (Bonus Tool Not Included) | 1 |
| Charger Included | Charger Not Included |
| Tools Product Type | Power Tool |
| Condition | New |
| Motor Type | Brushless |
| Voltage (volts) | 18 |
| Manufacturer Warranty | 5 Year Warranty |
| Certifications and Listings | CSA Certified,UL Listed |
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
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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]
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4.3 ★★★★★
Based on 26 reviews
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Product Reviews
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
★★★★★ 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
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
★★★★★ 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.
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Reviewed in the United States on May 3, 2014
★★★★★ 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.
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Reviewed in the United States on September 25, 2007