SKU: 94208581047

Fx Airguns FX King GRS NW

$1833.30 $2037.00
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Ships within 48 hours · Estimated delivery Aug 25 - Aug 30

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Description

Fx Airguns FX King GRS NWA King has been crowned With the all new FX King FX Airguns keep pushing boundaries and keep innovating in a multitude of ways. The FX King is a powerful and pure hunting rifle ready to dominate the hunting fields. Proven Block At its core, the FX King inherits the same true and tested block of the Panthera Dynamic that's capable of delivering a huge amount of power and energy. The FX king is an awesome pellets shooter without a doubt, but where it

A King has been crowned

With the all-new FX King FX Airguns keep pushing boundaries and keep innovating in a multitude of ways. The FX King is a powerful and pure hunting rifle ready to dominate the hunting fields.

Proven Block

At its core, the FX King inherits the same true and tested block of the Panthera/Dynamic that's capable of delivering a huge amount of power and energy. The FX king is an awesome pellets shooter without a doubt, but where it really excels is shooting slugs, thanks to its slug-based design and innovative valving. All while maintaining a slim and beautiful look as it sits in a custom-tailored GRS stock.

Over-the-Barrel Plenum System

With the large innovative over-the-barrel plenum system like you can find on other FX models the FX King can use the big volume to its advantage. Whether you want to shoot pellets or heavy slugs the FX King can handle it all while maintaining a sleek look in a traditional sporter stock.

Optimally Positioned Gauges

Dual-angled high-precision Wika gauges are set to monitor the bottle and regulator pressures. This way you can keep track of both pressures while shooting, even from the shouldered position out hunting. All so you won't miss that all-important shot.

Quick-Tune System

It is impossible to imagine a powerhouse like the FX king without the ability to tune it the way you want. Therefore, the quick-tune system was a must and is seamlessly integrated into the ergonomic GRS rifle stock. Adjustments can be made quick, repeatable, and precise.

Accessory-Ready

Even though this is a very classic sporter rifle we know you would love to mount accessories. So we have created accessory Picatinny rails on both sides of the FX King with the possibility to mount torches, bipods and more.

Handles Pellets & Slugs

With the deep magazine design adopted from the Panthera/Dynamic, the King can handle any kind of ammunition you throw at it up to 13 mm in length, pellets of any kind, shorter lighter slugs or heavy longer slugs are no problem.

30MOA Picatinny Scope Rail

All that is topped with a Picatinny scope rail that is 30MOA angled allowing you to have more usable elevation adjustments on your scope and reach out to longer distances with ease.

GRS STOCK

The King sits in a custom-tailored GRS stock, just like you would expect a King to wear a fine-tailored suit. Available in three superb colour options.

The Norwegian stock-making company GRS builds highly adjustable ergonomic laminate stocks with features like tool-less adjustments, a broad for-end and an ergonomic GRS grip, offset and angled, offering unsurpassed shooting comfort making the King stand out among the rest!

Comes with Hard Case

The FX King comes to you in a nice hard case with custom-cut foam that fits like a glove protecting your new rifle in transport and storage.

Right or Left-hand Available

Specification Chart
COCKING SYSTEM

Right hand positioned sidelever with ambidextrous mount to relocate
sidelever on left side for lefthanded shooters
MAGAZINE TYPE

Removable high capacity, easy load.
Newly developed deeper lid to accommodate longer length slugs.
Maximum ammunition length, 13 mm (0,51‚Äö√¢)
Made in durable injection-moulded POM
21 shot when Cal .177
18 shot when Cal .22
16 shot when Cal .25
13 shot when Cal .30
10 shots when Cal .35
STOCK

GRS Laminate stocks
Adjustable cheek piece
Adjustable recoil-pad
Tool-less adjustments
Ergonomic grip
Colours:
Green Mountain Camo
Nordic Wolf Laminate
Brown
CALIBRE 4,5 (.177)
5,5 (.22)
6,35 (.25)
7,62 (.30)
9,00 (.35)
BARREL

500: Superior STX barrel liner
600: Superior Heavy STX barrel liner
SHOT CAPACITY

500:
4,5 (.177) N/A
5,5 (.22) 180 shots with 15.89 gr pellet at 900 fps
6,35 (.25) 90 shots with 25.39 gr pellet at 900 fps
7,62 (.30) 70 shots with 44.75 gr pellet at 860 fps
9,00 (.35) 30 shots with 81 gr pellet at 840 fps
600:
4,5 (.177) N/A
5,5 (.22) 128 shots with 22 gr hybrid slug at 900 fps
6,35 (.25) 96 shots with 26 gr hybrid slug at 900 fps
7,62 (.30) 56 shots with 44,5 gr hybrid slug at 900 fps
9,00 (.35) 26 shots with 68 gr hybrid slug at 900 fps
FILL PRESSURE

Max 250 bar (3625 psi)
SAFETY Switch style
OPTICS

Picatinny rail with built in 9 MIL/30 MOA angle
Marked with figures on the right side for easy repositioning of optics
MUZZLE

Built-In Shroud system (variations may occur depending on country)
PRESSURE GAUGE

Dual Angled Gauges:
Air tube pressure WIKA
Regulator pressure WIKA
TRIGGER

Adjustable Match Trigger
Trigger blade can be adjusted in reach, height and rotated to set the blade in an angle
VELOCITY N/A
ENERGY

500:
4,5 (.177) N/A
5,5 (.22) up to 70 ft/lbs with 34gr slug at 960 fps
6,35 (.25) up to 80 ft/lbs with 43.5gr slug at 910 fps
7,62 (.30) up to 110 ft/lbs with 64gr slug at 880 fps
9,00 (.35) up to 135 ft/lbs with 81gr pellet at 865 fps
600:
4,5 (.177) N/A
5,5 (.22) up to 82 ft/lbs with 34gr pellet at 1040 fps
6,35 (.25) up to 91 ft/lbs with 43.5gr slug at 970 fps
7,62 (.30) up to 130 ft/lbs with 64gr slug at 1020 fps
9,00 (.35) up to 173 ft/lbs with 93gr slug at 915 fps
Note: above figures are maximum FAC Power output using tungsten hammer.
AIR CAPACITY

480 cc air cylinder + plenum volume
AIR CYLINDER

Carbon fibre wrapped air tank, removable
LENGTH 500: 970 mm
600: 1075 mm
WEIGHT 500: 3,45 kg
600: 3,6 kg
CHARGING

Rear Foster Quick Disconnect, dust cap included
MORE FEATURES

AMP MkII Regulator
Externally Adjustable
Quick Tune System
Micro & macro adjustment of hammer spring tension
Dual accessory rails
Picatinny on both sides
Comes delivered in a tailored cut out case
PLENUM

500: Macro Plenum 62 cc
600: Magnum XL Plenum 156 cc

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: 94208581047

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4.0 ★★★★★
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M
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Mr. Watkins
San Leandro, US
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 27, 2026
M
Verified Purchase
***moviemaker***
Phoenix, US
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
] On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters. (Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.) All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut. Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985. I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail: *In the 132-minute version you cut from Sam in bed with Jill, police sack goes over head, then CUT TO Pull off police sack to reveal Sam in Torture Chamber/Interrogation chair. This one cut is simply brilliant and very powerful. In the Criterion Version you have the added scene of Mr. Helpman as Father Christmas (completely out of charcater from the rest of the film) and the whole interrogation scene of Sam hanging from the rack inside the police/mail pouch which becomes narratively redundant and dilutes the impact of the final scene. *To end it with cooling tower/interrogation room fade to clouds was a great Gilliam wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to the European cut of just credits over cooling tower/interrogation room. *The Samurai Scene is divided into 3 separate scenes in the 132-minute version versus 1 LONG scene in the European cut. And you know what? Like most things, it works better in 3's. *The 132-minute version cuts straight to the Dinner Scene with Ida (his mother) ordering numero deux, trois, etc. while the European version has the entrance to the restaurant of going through the metal detector which really doesn't add anything and is again a bit redundant when the bomb does eventually go off in the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert. *And finally I just love that the 132-minute version opens on those clouds (outtakes from The Never-Ending Story) then goes to the Central Services advert about Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version also has the clouds opening (The Original European Cut didn't) but it's funny because the Studio asked Gilliam to start off with the clouds for the US Cut and he actually prefers it as quoted in his Director's commentary. Hilarious. Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
W
Verified Purchase
W.P.
Draper, US
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 25, 2026
B
Verified Purchase
Basket Case
Chelsea, US
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future. Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless. Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar! The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co. And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today? I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society. The film can be a bit 'heavy' at times, though. Not everyone's cup of tea. Watch it first, before sharing with friends or family.
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Reviewed in the United States on February 19, 2012
J
Verified Purchase
johnf
San Leandro, US
★★★★★ 5
The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things. The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring. The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world. If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 31, 2016

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