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Description
DeepCool AK400 G2 Dark 120mm CPU Air Cooler - BlackA dependable thermal solution for modern Intel and AMD systems, built for consistent South African performance. Quick Specs Four direct contact 6mm copper heatpipes ensure rapid heat transfer. 120mm PWM fan delivers up to 2200 RPM for controlled cooling. Updated mounting system simplifies installation on the latest Intel and AMD platforms. Low noise profile maintains system tranquility at under 31. 5 dB(A). Sleek, all black aesthetic integrates
A dependable thermal solution for modern Intel and AMD systems, built for consistent South African performance.
Quick Specs
- Four direct-contact 6mm copper heatpipes ensure rapid heat transfer.
- 120mm PWM fan delivers up to 2200 RPM for controlled cooling.
- Updated mounting system simplifies installation on the latest Intel and AMD platforms.
- Low noise profile maintains system tranquility at under 31.5 dB(A).
- Sleek, all-black aesthetic integrates cleanly into any build interior.
The foundation of stability for modern platforms
This is for the builder, the enthusiast, and the professional in South Africa who understands that performance cannot exist without thermal control. The DeepCool AK400 G2 Dark is not built for fleeting trends; it is engineered for the long tenure of your central processing unit, ensuring that the heart of your machine operates within its intended parameters, regardless of the ambient heat of the region. This dependable thermal solution excels in managing newer chipsets.
Precision in heat evacuation with modern compatibility
The challenge of modern processors is density; heat builds rapidly in a small footprint. This cooler meets that challenge with four 6mm copper heatpipes, engineered to make direct contact with the CPU integrated heat spreader. This direct path eliminates the thermal bottleneck common in indirect designs, moving heat swiftly into the dense, all-black fin stack for effective dissipation. It is an essential component for any new build utilising the latest sockets.
Controlled airflow discipline
Cooling is a measure of balance: airflow versus noise. The 120mm PWM fan is governed by the motherboard, allowing it to ramp from a quiet idle to a maximum of 2200 RPM when thermal demands spike. With a maximum airflow of 63.4 CFM, it provides the necessary volume of air to sweep heat away without contributing excessive distraction to your workspace or gaming environment. We value focus; the noise level remains ≤31.45 dB(A).
A clear path for installation on new sockets
The physical assembly must be precise; ambiguity breeds failure. The AK400 G2 Dark features an updated mounting system that addresses the specific requirements of the newest sockets from both major manufacturers, including critical support for any modern LGA 1851 CPU cooler configuration. This means less time spent wrestling with hardware and more time focused on the system’s actual operation. The compact dimensions ensure clearance within standard mid-tower cases, preventing interference with memory modules or primary motherboard components, making it the ideal AM5 CPU cooler choice.
Lasting performance assurance
Trust is earned through sustained reliability. The use of a high-quality Hydro Bearing in the fan mechanism is specified for longevity, reducing friction and wear over thousands of operational hours. This component is designed to be a consistent, silent partner to your CPU, offering dependable cooling for the duration of your build’s active service life, whether you are running a flagship AMD CPU cooler setup or a high-end Intel configuration.
FEATURES:
- Transfer heat directly: Utilise four 6mm copper heatpipes that make direct contact with your CPU for immediate thermal absorption.
- Govern your acoustics: Employ 4-pin PWM control to dynamically adjust fan speed between quiet idle and high-power cooling requirements.
- Maintain system integrity: Benefit from broad compatibility supporting the latest Intel LGA1851 and AMD AM5 sockets.
- Move substantial air: Achieve effective heat extraction with a fan capable of pushing 63.4 CFM of air through the heatsink array.
- Ensure component fitment: Rely on the compact heatsink and fan profile to integrate smoothly into restrictive chassis designs.
SPECIFICATIONS:
- Fan Connector: 4-pin PWM
- Bearing Type: Hydro Bearing
- Fan Rated Voltage: 12 VDC
- Fan Rated Current: 0.25 A
- Fan Power Consumption: 3 W
- Heatpipe: Ø6 mm×4 pcs
- Fan Dimensions: 120×120×25 mm(L×W×H)
- Fan Speed: 2200±10% RPM(max)
- Fan Airflow: 63.4 CFM
- Fan Air Pressure: 3.33 mmAq
- Fan Noise: ≤31.45 dB(A)
- Intel CPU Support: LGA1851 / 1700 / 1200 / 115X
- AMD CPU Support: AM5 / AM4
- Colour: Black
- Heatsink Dimensions: 13 x 9.2 x 15.1 cm
- Product Dimensions: 13.2 x 9.2 x 15.6 cm
- Product Weight: 950g
WHAT'S IN THE BOX:
- DeepCool AK400 G2 Dark 120mm CPU Air Cooler - Black x1
Why DeepCool?
DeepCool has maintained a stance of delivering honest, measurable thermal engineering for years. Our commitment in the South African context is to provide cooling solutions that meet international standards for efficiency and endurance, without introducing unnecessary complexity or inflated costs. We provide the necessary hardware so that your system can perform to its designed capability, session after session, year after year, delivering reliable performance when you need an AMD or an Intel CPU cooler.
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
4.3 ★★★★★
Based on 164 reviews
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Product Reviews
★★★★★ 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
★★★★★ 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
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