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Description
britax car seat no base Britax One4Life Slim All-in-One Car Seat – Baby GrandThe One4Life Slim all in one car seat takes your child from birth to big kid with trusted Britax safety, ClickTight installation, and a slim SpaceSaver design. As a convertible and harness 2 booster seat in one, it grows with your child for 10 years. It starts rear facing with an extended capacity of up to 50 lbs., so your child can ride rear facing longer. It easily converts to forward facing toddler mode (up to 65 lbs.) and high back belt
The One4Life® Slim all-in-one car seat takes your child from birth to big kid with trusted Britax safety, ClickTight® installation, and a slim SpaceSaver™ design. As a convertible and harness-2-booster seat in one, it grows with your child for 10 years. It starts rear-facing with an extended capacity of up to 50 lbs., so your child can ride rear-facing longer. It easily converts to forward-facing toddler mode (up to 65 lbs.) and high-back belt-positioning booster mode (up to 120 lbs.) when your child is ready. With a slim outside and spacious inside, the 17.5” seat is designed to fit 3 across* without compromising safety and comfort. ClickTight helps you install with confidence, every time. The base and shell are easy to wipe down for hassle-free cleanup. The car seat cover is safe to machine wash and dry, and it’s naturally flame-retardant with no added FR chemicals. One4Life Slim features a high-strength steel frame, a SafeCell® crumple zone, and a V-shaped tether. As your child grows, you can easily adjust the 15-position no-rethread harness and headrest with one hand. With cooling channels, premium padding, three infant inserts, and built-in armrests, your child will love every ride.
- All-in-One Car Seat: One4Life® Slim is a convertible and harness-2-booster seat in one!
- It easily converts from a rear-facing infant and toddler seat (5-50 lbs.) to a forward-facing seat (30-65 lbs.) to a high-back booster seat (40-120 lbs.)
- 10 Years of Use: This slim all-in-one car seat grows with your child from 5 to 120 lbs. and up to 63” tall
- ClickTight® Installation: Install with confidence in 3 easy steps: pinch to open, thread and buckle, click it closed!
- SpaceSaver™ Design: Slim outside, spacious inside! The 17.5” seat is designed to fit 3 across without compromising on trusted Britax safety and premium comfort.
- Premium Fabrics: The woven mélange accents give the car seat cover a tailored look, while the soft knit fabric on the padding and inserts helps keep your child comfortable during every ride
- Woven Accents on the Exterior and Comfort Pads: Made from recycled polyester
- Hassle-Free Cleanup: Extra space between the shell and base means you can clean under the seat with ease – and with minimal grooves in the seating area and base, you can wipe it down with no fuss
- SafeWash® Fabrics: No more hand-washing or waiting for the cover to air-dry; just quick and easy cleanup so you can keep moving
- Naturally Flame-Retardant Cover: With no added FR chemicals
- Three Removable Infant Inserts: Help provide a better fit for infants 20 lbs. and under
- Accessible Color-Coded Belt Paths: Make it easy to route the seat belt through the correct path for each car seat mode
- Slide-Out Cup Holders: The dishwasher-safe cup holders slide out with ease for convenient cleaning and click back into place for a secure attachment during rides
\Cup-Holder-Free Option: Remove the cup holders completely and insert the armrest caps to save additional space - 15-Position No-Rethread Harness and Headrest: Adjust together quickly and easily with one hand to help create the proper fit as your child grows; no rethreading, ever!
- Patented V-Shaped Tether with Staged-Release Stitches: Helps slow and reduce forward movement during a crash
- High-Strength Steel Frame: Reinforces the seat structure to help keep it sturdy and stabilized
- Quick-Push, 9-Position Recline with Easy-Read Indicators: Helps you find the most comfortable fit for your child and the correct angle for your vehicle
- SafeCell® Technology: Acts as a crumple zone, absorbing crash energy to help keep it away from your child
- Two Layers of Energy Management: The protective seat shell and foam-lined headrest help absorb impact energy and are designed to help keep your child's head, neck, and body safe
- Soft Comfort Pads: Help prevent the harness from rubbing against your child’s skin
- Flip-Forward Buckle Pad: Stays out of the way for easy boarding; made with extra padding for premium comfort
- Built-In Cooling Channels: Improve airflow to help keep your child comfortable
- Plush Padding: For superior comfort and a quiet ride
- Easy-Pull Harness Adjuster: Lets you tighten the harness using just one hand
- Harness Holder Slots: Keep the harness straps out of the way while your child gets in and out of the seat
- 5-Point Safety Harness with Diamond Weave Webbing: Provides adjustment points at the hips, shoulders, and between the legs
- Tag-Free Headrest: Supports your child’s head and neck without irritation
*Britax cannot guarantee 3-across fitment in all vehicles.
Specifications
- Dimensions: 24.5"H x 18.5"D x 17.5"W
- Weight: 28 lbs.
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4.5 ★★★★★
Based on 15 reviews
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Product Reviews
★★★★★ 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
★★★★★ 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