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Description
britax swivel car seat Britax Galaxy 360 Slim Rotating Car Seat – Lullabye ShopAs soon as you became a parent, the gravity of your world shifted. Suddenly, your number one priority became protecting the sweet child in your arms. With helpful baby gear built to prioritize your childs safety while supporting you in your role as a parent, you can navigate this journey with confidence. The Galaxy360 slim rotating convertible car seat is designed with both you and your child in mind, offering enhanced stability, intuitive
As soon as you became a parent, the gravity of your world shifted. Suddenly, your number one priority became protecting the sweet child in your arms. With helpful baby gear built to prioritize your child’s safety while supporting you in your role as a parent, you can navigate this journey with confidence. The Galaxy360™ slim rotating convertible car seat is designed with both you and your child in mind, offering enhanced stability, intuitive installation, and superior ease-of-use at every turn. Designed to grow with your child through the rear- and forward-facing stages, this 2-in-1 infant and toddler car seat rotates a full 360 degrees and turns seamlessly with just one hand to help simplify loading and buckling. Our SwivelSmooth™ steel ring helps make every turn an effortless glide, and the secure, one-piece design means that the seat and base stay connected at all times. Trusted safety features like high-strength steel for added stability, an integrated anti-rebound panel, and an extended rear-facing capacity of up to 50 lbs help give you peace of mind for every ride. This rotating car seat features an auto-opening design, our QuickStand™ seat prop, and ClickTight® technology for an easy installation in seconds. QuickStand holds the seat up and out of the way, and ClickTight automatically tightens and locks the seat belt for you. Your child can enjoy comfortable rides thanks to the soft, breathable fabrics, which are naturally flame-retardant with no added FR chemicals. The seat is available in warm, neutral colors selected to match modern vehicle interiors. From the slim 17” design and the proper-use indicators to the washer- and dryer-friendly cover and easy-clean shell, every feature of the Galaxy360 has been carefully selected to help make your job easier without sacrificing your child’s comfort or safety — because your world revolves around them.
- ONE HAND. 360 ROTATION. EFFORTLESS: This rotating convertible car seat turns a full 360 degrees and rotates seamlessly with just one hand for hassle-free loading and buckling — no more twisting or straining!
- 2-IN-1 CONVERTIBLE CAR SEAT, EXTENDED REAR-FACING: Starts as a rear-facing infant and toddler seat (5-50 lbs) and easily switches to forward-facing mode* (30-65 lbs) when your child is ready. *Britax strongly recommends that children ride rear-facing to the highest weight or height specified.
- SMOOTH GLIDE. SEAMLESS TURNS: With its innovative wheels-on-steel design, the Britax®-exclusive SwivelSmooth™ steel ring helps make the seat easy to rotate, so every turn feels like an effortless glide.
- SECURE ONE-PIECE DESIGN: The base and seat are designed as one secure unit that stays connected at all times, even during installation.
- STURDY CONSTRUCTION: High-strength steel reinforces the base to help keep it sturdy and stabilized.
- REBOUNDREDUCE™ STABILITY: The integrated stability panel on the back of the base helps minimize movement in the event of a crash when the seat is installed rear-facing.
- 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.
- TRUSTED BRITAX SAFETY: This seat is side-impact tested according to FMVSS 213a.* It is also tested to FMVSS 213 frontal impact standards. *FMVSS 213a sets side-impact standards for children up to 40 lbs and 43” with a 5-point harness. It does NOT include standards for testing harnessed children above 40 lbs and 43”.
- RIDE REAR-FACING LONGER: Extended rear-facing capacity accommodates children up to 50 lbs and 49”.
- EASY INSTALLATION IN SECONDS: Activate the auto-opening seat, place the seat belt into the ultra-accessible belt path, buckle, and click it closed. It’s that simple!
- BRITAX-EXCLUSIVE QUICKSTAND™ SEAT PROP: Holds the seat up and out of the way during installation, helping to make the process effortless.
- CLICKTIGHT® TECHNOLOGY: Automatically tightens and locks the seat belt for a fast, intuitive, and parent-friendly car seat installation.
- SLIM 17” SPACESAVER™ DESIGN: Helps you achieve a good fit in your vehicle and save backseat space without compromising safety or comfort.
- INSTALL ONCE, SWITCH MODES WITH EASE: Transition to forward-facing mode* with just a simple turn when your child is ready — no need to reinstall. *Britax strongly recommends that children ride rear-facing to the highest weight or height specified.
- 6-POSITION RECLINE: Features an easy-read indicator to help you find the best angle for your vehicle.
- PEACE OF MIND: Designed with easy-to-read proper use indicators — including our exclusive tether indicator, a ClickTight indicator, and a rotation indicator — to help give you confidence that everything is set up correctly and ready to go.
- NATURALLY FLAME-RETARDANT FABRICS: With no added FR chemicals.
- HASSLE-FREE CLEANUP: Life happens — and this rotating seat is fully prepared for everyday messes with a smooth, easy-to-wipe shell and a SafeWash® cover that’s washer and dryer-friendly.
- TIMELESS, SOPHISTICATED AESTHETIC: Warm, neutral fashions create a sleek, polished, and versatile look to match modern vehicle interiors.
- BREATHABLE KNIT FABRICS: Allow airflow to help keep your child cool and comfortable.
- PREMIUM COMFORT: Features built-in ventilation, silky-smooth fabrics, and plush cushioning for comfortable rides.
- SMOOTH-PULL ADJUSTER STRAP: Helps make it easier to tighten the harness.
- NO RETHREADING, EVER: The 11-position no-rethread harness and headrest adjust together quickly and easily with one hand to help create the proper fit as your child grows.
- 2 DISHWASHER-SAFE CUP HOLDERS: Slide out with ease for convenient cleaning and click back into place for a secure attachment during rides.
Specifications
- Dimensions: 21.5"H x 22"D x 17"W
- Product weight: 32 lbs.
- 10-year expiration date
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
4.7 ★★★★★
Based on 2375 reviews
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Product Reviews
★★★★★ 5
Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands,
This stuff I'm already noticing a difference in wrinkles and it's so soothing.
Just buy it and try it for yourself,
I'll definitely be buying more
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Reviewed in the United States on August 27, 2025
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
★★★★★ 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.
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Reviewed in the United States on March 19, 2026
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
★★★★★ 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