SKU: 81314045259

Cellulose MD Body Firming Machine

$1575.00 $1750.00
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Description

Cellulose MD Body Firming MachineCelluless MD is basically a machine that creates the vacuum to remove the problem of cellulite from any part of the body. This is a rechargeable product and it can be used at any place after charging. Cellulite is actually a bunch of fat cells that have formed a network. This network of fibers accumulates, because they become the harder deposits of immoveable fat. The end result is quite disastrous. Please note that it is not a disease, but it is an

Celluless MD is basically a machine that creates the vacuum to remove the problem of cellulite from any part of the body. This is a rechargeable product and it can be used at any place after charging.

Cellulite is actually a bunch of fat cells that have formed a network. This network of fibers accumulates, because they become the harder deposits of immoveable fat. The end result is quite disastrous. Please note that it is not a disease, but it is an indication of an unhealthy lifestyle. Cellulite leads to heaviness and tightness feeling in legs. These types of problems mostly occurred in different parts of the body as buttocks, hips and stomach. In present day, there are a number of treatments that are available to get rid of this issue. Among all the products there is a product that you can use for this purpose as the Telebrands Celluless.

The Telebrands Celluless is basically a type of body firming machine. This product can also be termed as the anti-cellulite massaging device that allows you to effectively get rid of all traces of visible cellulite from the body. This machine used a process called the vacuum massaging action. This action uses the vacuum suction action to gently melt away the fat deposits from the body. In this way, all the deposits of the cellulite get rid of the body effectively and in less amount of time. In this way, you can get tighter, firmer and smoother skin the way you want it.

The Telebrands Celluless body massager also features a red light wave. These waves help to target all the deposits of fat beneath the skin. These fat deposits are chiefly responsible for the appearance of cellulite on various parts of the body. Moreover, this red light wave also helps to improve the circulation of blood that has also termed as the main reason of cellulite formation. Furthermore, it also helps to rejuvenate the skin and to improve the texture of the skin.

The Pakistan Telebrands Celluless Body Massager is accompanied by anatomically designed massaging rollers. These rollers help to massage the deepest layer of the skin in order to break down the deposits of extra fat from the body. The best thing about this machine is that it can easily be used in any part of the body where cellulite appears and needs to be treated. This useful product can really transform your body to the desired shape. Moreover, it helps to uniform the skin complexion.

The Telebrands Celluless in Pakistan comes with a rechargeable battery. All the users just have to plug in the adapter of the device at least for two hours before using the product. The device comes with a standby adapter as well. You can place the product in the standby adapter and then you have to connect the adapter socket to the standby adapter to make it work. This product is very easy to use. You just have to massage with the machine for about 5-10 minutes in a day to get the desired results.

One of the main features about this product is that it does not have any type of side effect like the case with the surgery or injections. The Unique Celluless Body Massager in Pakistan can be a perfect remedy for all women who wanted to get rid of their cellulite, but haven’t success so far. This product can be purchased by using the online portal of Telebrands Pakistan.

How to use the Telebrands Celluless Body Massager Pakistan?

This product is very easy to use:

  1. First of all, you have to charge the device according to the above mentioned instructions
  2. In the next step, you have to apply some kind of oil or carrier on the part of the body in which you want to remove the cellulite
  3. In the third step, you have to mount the suction cups on the kit of the cellules to make it work
  4. In the next step, you have to switch ON the device by pressing the ON button. The device will start instantly and the red waves light of the device will also lit on
  5. Now you are ready to go. Now place the suction cup of the device on the desired area and switch on the cellules on. The vacuum will instantly suck the skin in its chamber. You have to slide the machine in the regular to and fro motion for about 5-10 minutes continuously. If you get some problem is smooth sliding the machine, then you have to press the grey button on the back of kit to release the suction vacuum.
  6. When you are finished, then detach the vacuum cup assembly.
  7. Do not forget to manually wash the vacuum assembly after each use.
  8. You are done

Additional Specifications of the Telebrands Pakistan Celluless Body Massager:

  1. Helps to smooth the skin visibly
  2. Slims the body
  3. Small and portable
  4. Rechargeable battery
  5. Comes with the stand by adapter
  6. Ideal for Arms, Abdomen, buttocks and legs
  7. Accompanied by two interchangeable cups
  8. Suction variable switch
  9. Tone muscles
  10. Helps to firm up the loose or dimple skin

Technical Specifications of the Telebrands Pakistan Celluless Body Firmer:

  1. Powered By: Alternate Current
  2. Voltage: 110 V
  3. Material: High Quality Plastic
  4. Available Color: White
  5. Dimensions: 6.82 x 1.50 x 1.50 Inches (Length x Width x Height)
  6. Weight: 500 Grams

What you will get with the Box of Celluless Pakistan:

1 x Main Kit

1 x Small Suction Cup

1 x Large Suction Cup

1 x Power Adapter

1 x Standby Adapter

1 x Instruction Manual

Important Note: Delivery charges of Rs.300 are applied on this product.

 آرڈر کرنے اور مزید تفصیل کے لئے مندرجہ ذیل نمبروں پر کال کریں

0321.4115583  - 0333.4115583

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Shipping Notes
  • Free Standard Shipping on $100+ Orders 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: 81314045259

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4.5 ★★★★★
Based on 24 reviews
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R
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Ruth
Alexandria, 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
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Lana
Carnegie, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
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dra
Charlottesville, 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
Birmingham, 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
M
Verified Purchase
mojo_navigator
Phoenix, US
★★★★★ 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)
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 26, 2014

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