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Description
mountainbike s-works Specialized 2024 Stumpjumper s-works, Gloss Blk Pearl / Satin Blk Pearl / Brushed Blk Chrome / S1When we say "The Ultimate Trail Bike," we mean itthe all new Stumpjumper is everything you could ever ask for in a trail ripping steed. Want a bike that climbs with ease? The Stumpjumper delivers, thanks to a ground up suspension redesign and lightest in class frame weight. How about something that's ready to shred when the trail turns downhill? That suspension re design paired with new Trail Geometry and the Rider First Engineered frames perfect
When we say "The Ultimate Trail Bike," we mean it—the all-new Stumpjumper is everything you could ever ask for in a trail-ripping steed. Want a bike that climbs with ease? The Stumpjumper delivers, thanks to a ground-up suspension redesign and lightest-in-class frame weight. How about something that's ready to shred when the trail turns downhill? That suspension re-design - paired with new Trail Geometry and the Rider-First Engineered™ frame’s perfect blend of stiffness and light weight - turns the Stumpjumper into an absolute monster descending. Point it where you want to go and let the party begin.
As with all of our S-Works bikes, the S-Works Stumpjumper is dressed to impress. SRAM's XX Eagle Transmission wireless electronic groupset handles shifting duties while FOX Factory suspension delivers a magic carpet-smooth ride.
- THE TRAIL BENCHMARK—When we set out to design the all-new Stumpjumper, we pursued some hefty goals. It had to excel on any kind of trail, for every style of rider. To achieve that, we went after serious weight reduction without sacrificing durability, a stiff, responsive chassis that still rides light and lively, geometry that improves everyone’s riding, and the best suspension kinematics we know how to design. Turns out, you can have your cake and eat it too with the new Stumpjumper.
- THE SWEETEST 130MM OF TRAVEL YOU’LL EVER RIDE—We massaged the kinematics of the Stumpjumper suspension to bring out the very best all-round performance possible in a 130mm package. Countless hours of suspension lab development and field testing created a refined mid-travel ripper that eats big terrain like a gravity fed beast, handles like a dream everywhere, and climbs like it has a motor.
- PROGRESSIVE GEOMETRY—The S-Sizing geometry of the new Stumpjumper hits the progressive sweet spot. It’s long, low and slack, with a short offset fork and a steeper seat tube angle. These numbers combine to make your ride more stable, more carvealicious, more comfortable climbing, more better everywhere. With FlipChip adjustability you’re able to further fine-tune your fit, ensuring that your new Stumpjumper performs flawlessly on whatever terrain you choose.
- RIDER-FIRST ENGINEERED™—Rider-First Engineered™ frames use a size-specific approach to ride characteristics that ensures benchmark handling and flawless performance, regardless of frame or rider size. Whether you’re a jump-happy grom riding an S1, or a DH-fiend giant in need of the lengthy S6, you’ll experience the same ride traits – rail-sharp cornering and balanced front and rear stiffness – at the lightest-possible weight, And by light, we mean real light: 2,250 grams (S-Works, S-3 size, with rear shock).
- SWAT™—We introduced the SWAT™ door on the Stumpjumper in 2016, adding room IN your frame for those “oh sh**t” necessities like pumps and spare tubes, and immediately rendering jersey pockets redundant.
Specifications:
|
Seat Binder |
Alloy, 38.6mm |
|
Frame |
FACT 11m carbon chassis and rear-end, asymmetrical design, 29 Trail Geometry, SWAT™ Door integration, flip chip Head Tube/Bottom Bracket adjustment, threaded BB, fully enclosed internal cable routing, 12x148mm UDH compatible rear spacing, sealed cartridge bearing pivots, 130mm of travel |
|
Saddle |
Bridge, 155/143mm, Hollow Ti-rails |
|
Grips |
Deity Grips |
|
Stem |
Deity, 35.0mm |
|
SeatPost |
RockShox Reverb AXS, 30.9, 1X remote, (S1:100mm, S2: 125mm, S3: 150mm, S4-S6: 170mm) |
|
Handlebars |
Roval Traverse SL Carbon, riser bar, 6-degree upsweep, 8-degree backsweep, 30mm rise, 780mm, 35.0mm |
|
Front Tire |
Butcher, GRID casing, GRIPTON® T9 compound, 29x2.3" |
|
Rear Hub |
DT Swiss 240, Ratchet EXP, 36t engagement, SRAM XD driver body, 12mm thru-axle, 148mm spacing, 28h |
|
Front Hub |
DT Swiss 240, sealed cartridge bearings, 15x110mm spacing, 28h |
|
Spokes |
DT Swiss Competition Race |
|
Rear Tire |
Purgatory, GRID casing, GRIPTON® T7 compound, 29x2.3" |
|
Rims |
Roval Control 240, hookless carbon, 29mm inner width, hand-built, 2Bliss Ready |
|
Inner Tubes |
Standard, Presta valve |
|
Fork |
FOX FLOAT 34 Factory, GRIP2 damper, Kashima Coating, 15x110mm, 44mm offset, 140mm of travel |
|
Rear Shock |
FOX FLOAT DPS Factory, Rx Trail Tune, EVOL Air sleeve, Kashima Coat, 3-position adjustment w/ Open Mode Adjustment, 190x45mm |
|
Bottom Bracket |
SRAM DUB, BSA 73mm Wide, Threaded |
|
Shift Levers |
SRAM AXS POD Ultimate Controller |
|
Crankset |
SRAM XX Eagle Crankset, Carbon, Integrated Guard, 55mm Chainline, S1:165mm, S2-S5: 170mm, S6: 175mm |
|
Chain |
SRAM XX SL Eagle Transmission Flattop Chain |
|
Rear Derailleur |
SRAM XX Eagle Transmission Derailleur |
|
Cassette |
SRAM XX SL Eagle Transmission Cassette, 12spd, 10-52t |
|
Chainrings |
32T |
|
Rear Brake |
SRAM Code Ultimate Stealth, 4-piston caliper, hydraulic disc, 180mm HS2 Rotor |
|
Front Brake |
SRAM Code Ultimate Stealth, 4-piston caliper, hydraulic disc, 200mm HS2 Rotor |
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- 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
4.5 ★★★★★
Based on 8 reviews
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Product Reviews
★★★★★ 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)
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Reviewed in the United States on September 26, 2014
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows.
Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring.
Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters.
In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies.
At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn.
The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025
★★★★★ 3
Dated, but....
Compared to the novel on which it is based, this movie is a complete letdown, so fans of the Parker series of novels who are drawn to this book may want to think twice about watching the film if they are looking for a faithful adaptation of the first Parker novel. That being said, it was not the intention of the director John Boorman to adapt Richard Stark's excellent novel, "the Hunter" to film, but rather to create an entirely new piece of fiction from the skeleton of the original story, so one most try to judge the movie on its own merits, which is difficult to do.
As in other reviews, I must commend the directing. The style of the film is way ahead of it's time, with stark visuals, stylized fight scenes, and prolonged moments of silence. I love the long Walk lee Marvin takes thru the a multi-colored corridor where his footsteps drown out all other sound. Marvin's performance is also very strong, and he shows himself to have been an actor who took chances with his image and, in this case, used his clout to make a movie which otherwise would not have been so memorable.
In the end, one must ask the question "Why?" Why not faithfully adapt "The Hunter" into film? It certainly would not have stifled the film's creativity, and nothing in the movie's script was any better than what was in the book. There is also the annoying occurrence of changing the protagonists' name from Parker to something else; in this case, Walker. This trend continued in another six film adaptations of the Parker novels, the last of which was 1999's Payback, starring Mel Gibson as Porter.
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Reviewed in the United States on July 1, 2011
★★★★★ 5
A stark, brutish "Petulia" with a pistol in its pocket
It's about time this movie got released on DVD.
It's odd that a film could spawn a remake ("Payback"), a glib nod ("Grosse Pointe Blank") and countless homages ("The Limey," among others) and still be as underseen as "Point Blank."
The lack of a disc certainly didn't help its low profile, but of course this is a challenging, idiosyncratic movie, even three decades later. The plot is simple -- a crook is betrayed by his wife and partner and spends the rest of the movie trying to get what he's owed -- but the editing and narrative structure is unusual. What in the world did audiences possibly make of this back when it was first released?
It's a remarkable film, as startling and innovative as Richard Lester's "Petulia," although admittedly it's thematically much less complex.
This edition is excellent, too. Great sound, great picture and a fantastic commentary by director John Boorman and big-time "Point" fan Steven Soderbergh, who laughingly admits to Boorman that he's ripped this movie off more than a few times. Their chat is more technical than gossipy and deals heavily with the editing, the production (the script was only 70 pages long), the studio's concerns about the picture, the actors, violence, surrealism (is it all a dream?) and Boorman's elaborate use of color (the tones of clothing and sets intensify over the course of the film).
I've gotten a lot of good DVD's this year but in terms of content, presentation and extas, this is one of the best.
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Reviewed in the United States on August 1, 2005
★★★★★ 4
One of Marvins better offerings
Like the Killers before marvin was almost destined to play the part of Walker in this fast moving gut wrenching but always realistic thriller brilliantly collaborated by Marvin and Boorman who had no peer in this type of film.For those unenlightened souls who downplay Marvins career this was the one that to my mind surpassed most of his prior efforts with the exception of the Killers which was above par in all respects.Marvin was ahead of the pack in the 60s playing this type of hard nosed no nonsense gangster type, no other actor came close and type casted him to some extent in this type of role which unlike may actors became a positive in his career. Just to show his brilliance as an actor he gave us later comedy roles which produced more acting accolades than that material for which he was better known namely what we see in Point Blank.He carries the whole movie as did all the great actors of that era and many since which in itself is the hallmark of greatness. Marvin was a man who so perfectly personified the parts he was playing that often other actors looked wooden in comparison.He was one of the rare individuals who could take a small co starring role and end up being the star of the movie, no mean feat when you were up against the best in the business at that time and there were plenty in the 60 and 70s.To my mind Point Blank will always be a MARVIN film and this is not to downplay other good workmanlike performances in the film but it will always rank highly in Marvins body of work which is a cut above his contemporaries in the roles for which he was known and appreciated.As for the film it played out in fairly predictable fashion until the final scenes under the golden gate brige which gave a nice twist and left the viewer unsure whether Walker did in fact take his money or simply leave the scene of the set up empty handed. The obvious answer is that he waited till the coast was clear and took his money. It is hard to accept that he did otherwise.In retrospect a movie that stands up 40 odd years later and is just as watchable as it was in 67. No mean feat.
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Reviewed in the United States on May 20, 2010