SKU: 82812012270

BDS Suspension 5" Radius Arm System 23-24 Ford 6.7L Powerstroke F250/350 4WD

$765.00 $850.00
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Description

BDS Suspension 5" Radius Arm System 23-24 Ford 6.7L Powerstroke F250/350 4WDAre you ready to gain some altitude in your SuperDuty coupled with increased suspension performance? Whether your truck stays on the pavement or you like to hit some dirt on the weekends, this kit from BDS will not only deliver additional ride height for larger tire fitment and ground clearance, but also a better ride, no matter the conditions. As far as quality no cheap coil or radius arm spacers here, only fine tuned replacement coils and stout,

Are you ready to gain some altitude in your SuperDuty coupled with increased suspension performance? Whether your truck stays on the pavement or you like to hit some dirt on the weekends, this kit from BDS will not only deliver additional ride height for larger tire fitment and ground clearance, but also a better ride, no matter the conditions. As far as quality...no cheap coil or radius arm spacers here, only fine tuned replacement coils and stout, stellar looking radius arms with this kit!

At the heart of this system is a pair of heavy duty radius arms built to withstand whatever abuse you can throw at them. Built from 1-3/4" OD -10GA DOM tubing with support gussets, these replacement arms are far superior to the factory stamped steel units. They use a high clearance design for extra ground clearance and are formed inward to allow for additional clearance of oversized tires. They incorporate factory style 3-1/4" rubber bushings to minimize road vibrations and allow for a long, maintenance-free bushing life. The arms bolt into the factory mounting points and reposition the front axle to correct caster angle.

 

The additional 5" of lift comes from a pair of full length diesel specific ProRide coil springs. These paired with your choice of BDS NX2 series gas shocks or the precision tuned FOX 2.0 performance gas shocks offer a smooth ride and improved control over rough terrain. To improve steering angles a forged drop pitman arm is supplied with an integrated drag link flip.  Used in combination with the 1/4" thick heavy duty track bar drop bracket will position the front axle and keep the track bar angle in phase with the steering for improved handling. Also included for the front suspension are a pair of sway bar relocation brackets, bump stop extensions, brake line relocation brackets and your choice of series steering stabilizer with mounting bracket. Out back a 3" bolt on lift block is used in place of the factory block on the F250 or F350 to level the stance. Longer black e-coated u-bolts and your choice of NX2 or FOX 2.0 shocks round out this 5" radius arm lift system.

 

Shock Options

Choose between custom valved BDS NX2 series or Fox 2.0 series gas charged monotube shocks to outfit the front and rear of your Powerstroke.

 

  • BDS NX2 Series - BDS NX2 series gas shocks offer impressive performance on and offroad. They use a nitrogen charged, twin tube design with 10-stage velocity sensitive valving for lightning fast dampening and superior control. This results in: increased stability for improved handling, longer front end and tire life, less nose dive on severe braking, less squat on hard acceleration, smoother ride control without harshness.
  • FOX 2.0 Series - Fox 2.0 performance series shocks have been tuned and tested by both Fox and BDS Suspension to maximize performance specific to each application and to every BDS Suspension system. The basic shock design is based on proven Fox Racing Shox race products, but re-designed to maximize the ride quality, handling, and control of your BDS equipped truck or jeep, whether on or off the road.

Front Adjustable HD Track Bar

These track bars are a massive upgrade to the factory unit, constructed from 1-3/8" solid steel stock reinforced with gusseted ends to handle whatever on-road and off-road abuse you can through at it. Adjustments are made at the 1-3/8"-12 fine threaded center turnbuckle with pinchbolt ends to allow easy tuning to properly recenter the front axle for a range of lift heights. The track bar is formed for proper clearance around critical front end components and is designed to easy installation without the need to clearance the factory frame and axle mounts. Both ends use high-durometer polyurethane bushings with thick-walled steel sleeves for strength and reliability. Parts come with a high quality textured black powdercoat finish for a great look and excellent corrosion resistance. The are designed for use on 0-4" of lift and can be used in combination with most aftermarket track bar brackets to be used on taller lift heights.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
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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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SKU: 82812012270

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4.5 ★★★★★
Based on 15 reviews
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M
Verified Purchase
MB
Bozeman, 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
Cuba, 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
Fort Morgan, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
Verified Purchase
dra
West Palm Beach, 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
Los Angeles, 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

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