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Description
evenflo revolve 360 green and gentle Evenflo 360° Rotational All-in-One Car SeatHeres a turning point in car seat innovation designed to make a world of difference: The Evenflo Gold Revolve360 Extend Rotational All In One Car Seat with Green & Gentle Fabric. A spin off of the Revolve360, Americas bestselling rotating car seat, the Revolve360 Extend offers one hand, 360 rotation that makes it easy to get your child in and out of the car. Now it also allows you to make a positive impact on the planet. This seat features our soft
Here’s a turning point in car seat innovation designed to make a world of difference: The Evenflo® Gold Revolve360™ Extend Rotational All-In-One Car Seat with Green & Gentle™ Fabric. A spin-off of the Revolve360, America’s bestselling rotating car seat, the Revolve360 Extend offers one-hand, 360° rotation that makes it easy to get your child in and out of the car. Now it also allows you to make a positive impact on the planet. This seat features our soft Green & Gentle Fabric, free of added chemicals and flame retardants, and manufactured using 26 recycled plastic bottles! There’s plenty more to love beyond sustainability for kids. This 360° rotating car seat also offers the extended security of rear-facing all the way up to 50 lb. Child safety experts say the longer your child remains rear-facing, the better, and the Revolve360 Extend is here to help with peace of mind all the way around. You’re looking for a safe car seat — and the smart car seat choice is a connected car seat. The Evenflo Gold Revolve360 Extend will help put your mind at ease when it comes to child car seat safety, featuring SensorSafe™ to connect you to your little one from the backseat. While your eyes are focused on the road, integrated SensorSafe technology alerts you in real-time to four potentially unsafe conditions from your child’s car seat via your phone: unexpected chest clip unbuckling, temperature too hot or too cold in the car, child unattended in the car, and child seated too long. Install the seat just once for rear-facing and forward-facing modes of use — no need to remove the seat in order to make the switch. Sure360™ Safety Installation System with LockStrong™ and Tether360™, plus a handy bead-level indicator for leveling in seconds, make your one-time installation safe, secure and simple. The best swivel car seat is one that lasts! The Revolve360 Extend is the only car seat you’ll ever need, growing with your child with 3 modes that adapt to every stage: rear-facing (4 to 50 lb), forward-facing (30 to 65 lb) and booster (40 to 120 lb). This innovative car seat also comes with a zip-on, ergonomic leg rest to add comfort for growing legs. On-the-go recline means you can adjust the car seat to the perfect angle without having to uninstall or bother your child. This is the crème de la crème of swivel car seats. Offering good looks and ease at every turn, the Evenflo Gold Revolve360 Extend with Green & Gentle Fabric cradles your child in Gold-standard comfort, premium finishes and our eco-conscious fabric. Consider a more eco-friendly car seat and join the sustainability revolution. Go Green — and Gentle! At Evenflo, we go above and beyond government standards to create car seats that are safe. The Evenflo Gold Revolve360 Extend with Green & Gentle Fabric meets or exceeds all applicable federal safety standards. It is structural integrity tested at energy levels approximately 2x the federal crash test standard, and it is side-impact tested, rollover tested and temperature tested.If you need help installing your car seat, our ParentLink® customer service experts offer help online in real time. Get live video support with a certified car seat safety technician to assist with proper vehicle installation, so you can drive with confidence.
It's been 100 years and Evenflo continues to push the boundaries in baby and children’s gear design and innovation. We meet the needs of new generations of parents by focusing on what they really care about: leading-edge safety, smart design and technology, and convenient features that help them enjoy the journey of parenthood.
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4.5 ★★★★★
Based on 68 reviews
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Product Reviews
★★★★★ 5
Best wrap mask!
Color: Lifting (Jericho Rose)
Just the best wrap mask!!
A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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Reviewed in the United States on May 20, 2026
★★★★★ 5
Great face mask
Color: Lifting (Jericho Rose)
Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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Reviewed in the United States on April 21, 2026
★★★★★ 3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me.
I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife…
“Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip.
It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.”
I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated.
Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies.
It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”.
The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across.
The Movie:
Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc.
The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture.
The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined.
So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem.
The DVD:
First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman.
Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*.
The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay.
Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002
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