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Description
maxi cosi pebble us Maxi-Cosi Pebble 360 Pro2 Car SeatPebble 360 Pro From the very first day, the Maxi Cosi Pebble 360 Pro prioritises your babys safety and comfort with its full lie flat position, providing maximum sleep comfort. Compatible with the FamilyFix 360 Pro, it combines SlideTech and 360 rotation for easy installation. Uncompromising safety, unmatched comfort, Pebble 360 Pro is there from the start. Safety From day one, the Maxi Cosi Pebble 360 Pro puts your baby's safety first. It meets the
Pebble 360 Pro²
Safety
From day one, the Maxi-Cosi Pebble 360 Pro² puts your baby's safety first. It meets the latest i-Size safety standards and G-CELL Side Impact Protection provides superior protection in the event of side impact collisions. The Pebble 360 Pro² is also TÜV certified for use on an airplane, so your baby can travel safely and securely with you on holiday, in their very own car seat, in all recline positions.
Ease of use
Pebble 360 Pro² is designed to make parents’ lives easier every day. The rotating FamilyFix 360 Pro slide-out base (sold separately) makes it easy to effortlessly rotate and slide your child towards you and put them in any recline position, while ISOFIX connectors and support leg provide the safest, easiest installation in your car. Pebble 360 Pro² can be safely belted into any car without the base, and once outside, it easily attaches to a stroller in one quick click. The easy-in harness stays open and out of the way to help you to fasten your baby in the seat with minimum fuss.
Age-range
The Pebble 360 Pro² isn't just suitable from birth; it also accommodates premature babies, ensuring safe travels from 40 cm up to 87 cm (approx. 18 months). Once your little one outgrows the Pebble 360 Pro², it's possible to switch to the Pearl 360 Pro, which is also compatible with FamilyFix 360 Pro base. Ensuring your toddler, up to 4 years old, continues to experience maximum comfort wherever you go together.
Comfort features
Comfort is at the heart of the Pebble 360 Pro²'s design. It offers a unique full lie-flat position, allowing your baby to experience maximum sleep comfort on every journey, whether in the car or attached to the stroller. ClimaFlow technology ensures your child is always at the comfortable temperature, thanks to ventilation panels, breathable foam, and open, mesh fabrics that enhance air circulation. Its headrest and backrest provide the ideal position for optimal breathing when you’re on the go.
Safety
- G-CELL Side Impact Protection: G-CELL Side Impact Protection provides your child with unrivalled safety, spreading the impact and reducing injuries in the event of a collision.
- i-Size safety: Meets the highest and latest i-Size safety standards (R129/03), offering maximum safety for your child.
- ISOFIX connectors: Integrated ISOFIX connectors ensure your car seat base is safely locked into your car.
Ease of use
- Innovative SlideTech® technology: Our revolutionary sliding car seat technology combines with one-hand 360° rotation to make every day easier for parents. Simply slide, spin and go!
- Easy-in harness: Pebble 360 Pro2 features an easy-in harness that stays open and out of the way, so you can effortlessly get your child in and out of the car.
- Anti-misuse button: Anti-misuse rotation lock gives peace of mind knowing your baby always travels in the rearward-facing position up to 18 months.
- Visual installation feedback: The FamilyFix 360 Pro base has visual indicators that guarantee you install Pebble 360 Pro2 correctly and safely, so you can travel with peace of mind.
- Back-friendly car seat: Certified by AGR, as back-friendly. Lifting your baby in and out of the car has never been this comfortable thanks to SlideTech® technology.
- Ergonomic carry handle: The ergonomic handle lets you carry your baby to and from your car with ease.
- FlexiSpin 360° rotation: Buckling up your baby is made easy and secure with FlexiSpin 360° rotation as they face you directly.
- Machine washable: Does your car seat cover need a bit of freshening up? Wipe it down with a damp cloth, or put it in the washing machine up to 30°C.
Comfort
- Full lie-flat position: Pebble 360 Pro2 reclines into a full lie-flat position in all modes for maximum sleep comfort – in the car or attached to a stroller.
- ClimaFlow for temperature control: Designed with ventilation panels, breathable foam, and comfortable mesh fabrics for enhanced air circulation, ensuring your child stays cosy.
- Extra-large sun canopy: The extra-large sun canopy with UPF 50+ can be adjusted easily and keeps your baby cool even in the blazing sun.
- Newborn inlay: Our newborn inlay keeps your little one comfortable while providing a proper fit and room to grow.
General
- Grows with your child: Designed to grow with your baby, offering lasting functionality from birth (40 cm), with the integrated newborn inlay, up to 18 months (87cm).
- Long-term use: As part of the 360 Pro Family, the Pebble 360 Pro2 can be used from birth up to 18 months. It’s compatible with the FamilyFix 360 Pro base.
- TUV aircraft approved: Pebble 360 Pro2 is TUV aircraft approved, which means it’s allowed to travel with your baby by airplane, in all recline positions.
- Complete 3-in-1 travel system: Transition from street to car with this complete 3-in-1 travel system, including a Maxi-Cosi stroller, carrycot, and Pebble 360 Pro2 baby car seat.
- Eco-friendly production: Eco Care fabrics are produced without the use of hazardous chemicals, meaning that babies' skin is not exposed to any potential risks.
- Sustainable Eco Care fabrics: Made with soft, 100% recycled fabric by re-using plastic bottles.
- Most premium design: Featuring elegant embroidery and detailing, as well as high-performance breathable mesh fabrics with ultra-resistant knitting.
- Organic cotton summer cover: Compatible with our premium, non-dyed summer covers. The breathable Organic Cotton fabric absorbs moisture quicker and provides extra cushioning.
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 13 reviews
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Product Reviews
★★★★★ 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
★★★★★ 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