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Description
sun shade double stroller UPPAbaby Vista V3 StrollerUPPAbaby Vista V3 Twin Stroller + 2 Mesa V3 Aria V2 Car Seats Travel System The Uppababy Vista V3 Twin Travel System provides the perfect solution for families with twin bundles of joy. This special UPPAbaby travel bundle provides everything a parent needs for strolling with two little passengers. It includes the incredibly versatile and newly upgraded Vista V3 stroller and your choice of either two (2) newly upgraded Mesa V3 infant car seats or two
UPPAbaby Vista V3 Twin Stroller + 2 Mesa V3/Aria V2 Car Seats Travel System
The Uppababy Vista V3 Twin Travel System provides the perfect solution for families with twin bundles of joy. This special UPPAbaby travel bundle provides everything a parent needs for strolling with two little passengers. It includes the incredibly versatile and newly upgraded Vista V3 stroller and your choice of either two (2) newly upgraded Mesa V3 infant car seats or two (2) of the super lightweight Aria V2 infant car seats, both stylish and full-featured options that provide you with a convenient and tasteful travel system. This particular travel bundle also includes the RumbleSeat which is designed for a second sibling, and the upper adapters which create additional spacing between the two seats so both children can ride comfortably.
What’s Included with this Travel System?
UPPAbaby VISTA V3 stroller including:
- UPPAbaby Vista V3 Stroller
- Toddler Seat Seasonal Seat Liner
- Toddler Seat Bug Shield
- Toddler Seat Rain Shield
- Stroller Storage Bag
- 3-Year UPPAbaby Warranty
Two (2) UPPAbaby Mesa V3 or Aria V2 Infant Car Seats including:
- Your choice of two (2) Infant Car Seats, either the Mesa V3 or the or Aria V2
- Two (2) Car Seat Bases
- Two (2) Two-Piece Robust Infant Inserts
- Limited Lifetime Warranty (up to expiration of car seat)
UPPAbaby RumbleSeat including:
- Lower Adapters
- Bumper Bar
- Bug Shield
- 3-Year UPPAbaby Warranty
UPPAbaby Upper Adapters
- Compatible with all Vista models after 2015.
- For use with all Bassinet models, Vista Toddler Seat, Mesa Infant Car Seats, and Aria Infant Car Seat
UPPAbaby Vista V3 Stroller:
One of the best just got better. Making improvements to arguably one of most popular and in-demand strollers on the market is no easy task, but UPPAbaby was up to the challenge. Introducing the UPPAbaby Vista V3, an upgraded version of the ever-popular Vista V2, designed for the growing family and loaded with new features and improvements.
UPPAbaby has kept everything customers loved about the predecessor Vista V2 stroller and introduced several upgrades and functional improvements that will make the Vista V3 a favorite with growing families for years to come.
UPPAbaby Vista V3 Key Features:
- Offering 30+ configurations to grow with your family starting from birth up to three children in tow
- The Vista V3 will no longer include the UPPAbaby bassinet with purchase. The UPPAbaby bassinet will continue to be offered as an accessory and can be added to the Vista V3 system.
- The Mesa and Aria Infant Car Seats as well as the Bassinet attach directly to the stroller with no adapters needed, creating an easy from-birth solution
- All-weather Comfort Seat with padded insert for cooler days will convert to mesh for warmer days
- Quick-to secure harness system with magnetic buckle and easy-to-adjust no rethread harness
- Enhanced FlexRide Suspension delivers a smooth ride on all types of terrain with either one, two or three little passengers
- Full size toddler seat grows with child up to 50 pounds and accommodates both the parent-facing or forward-facing positions
- Never flat tires for increased durability and smooth strolling on any type of terrain
- Reflective trims on wheels and basket provide increased visibility when strolling in low light or evenings
- Use of RumbleSeat and Piggyback board provides ability to transport up to three children
- Please note that the Piggback board is sold separately and not included in this listing.
- One-handed, multi-position recline allows for comfortable strolls and easy nap time
- Adjustable handlebar allows you to accommodate strollers of different heights with ease
- Front wheel locks with visual indicators for safety and extra piece of mind
- Adjustable footrest positions feet and legs comfortably as they grow
- Extendible UPF 50+ canopy
- Machine washable fabrics
- New all-terrain wheels available and sold separately (4-wheels, $150)
- GREENGUARD Gold Certified
- REACH Certified
- JPMA Certified
The Vista V3 is Available in a Variety of Stylish Options:
UPPAbaby is introducing several new colors to compliment their already impressive stable of fashions. With elegant frame options and several luxurious leather accents to choose from, the UPPAbaby V3 will make a sophisticated and stylish companion.
- OWEN: Mocha Mélange | Carbon Frame | Chestnut Leather
- ADA: Sandstone Mélange | Carbon Frame | Chestnut Leather
- JULIAN: Dusty Blue Mélange | Carbon Frame | Chestnut Leather
- EVELYN: Meadow Green | Graphite Frame | Chestnut Leather
- SAVANNAH: Pearl Gray Jacquard | Carbon Frame | Chestnut Leather
- KENZI: Mystic Aqua | Carbon Frame | Saddle Leather
- GREYSON: Charcoal Mélange | Carbon Frame | Saddle Leather
- JAKE: Charcoal | Carbon Frame | Black Leather
- CALLUM: Stone Blue |Silver Frame | Sand Leather
- NOA: Navy I Carbon Frame l Saddle Leather
UPPAbaby Vista RumbleSeat V3 Key Features:
- Suitable up to 40 lbs.
- Seasonal seat with breathable mesh backing for comfort in warmer climates
- Comfy insert for cooler days is easily removable without the use of tools
- Quick and easy magnetic closure buckle
- Easy one-handed release
- GREENGUARD® Gold Certified to support healthier air quality and low chemical emissions
- Multi-position adjustable footrest aids in child comfort for growing child
- Grow-with-me canopy height adjustment provides extra headspace for child
- Adapters ensure quick, easy, and intuitive attachment to Vista
- Can be positioned forward and parent-facing
- One handed, multi-position recline
- Extended zip out canopy provides even more shade from the sun. Mesh panels also make it easy to peek in while adding airflow.
- No-rethread harness allows the entire harness system to be tightened or loosened in a singular motion for a precise fit for growing babies
Choose The Car Seat That is Right For You:
Pair the versatile Vista V3 with one of UPPAbaby’s popular and adaptable infant car seats to create a travel system that delivers the ultimate in portability and safety. The key features for the UPPAbaby Mesa V3 and the Aria V2 Infant Car Seats are outlined below.
UPPAbaby Mesa V3 Key Features:
- 4th anti-rebound handle position for increased safety in rebound & rear-impact collisions
- Large, adjustable headrest for additional Side Impact Performance and comfortable fit
- Advanced Side Impact Protection that meets FMVSS New 213A regulation and 213B
- Deluxe, full coverage UPF 50+ canopy with mesh ventilation and peek-a-boo window
- Robust Infant Insert designed to optimize fit and body positioning
- No-rethread 5-point harness that adjusts with headrest
- Headrest totals 25 positions to ensure proper fit and ease of adjustment
- Intuitive, magnetic buckle holder to keep the straps out of the way while placing child in seat
- Installation quick and simple by combining our innovative SmartSecure® system, auto-retracting LATCH design, red to green tightness indicator, and four-position adjustable foot
- European Routing for a more secure installation when installing without the base
- Robust infant insert ensures a proper fit and body positioning for infants weighing as little as 4 lbs
- Ergonomic carry handle featuring a one-handed stroller release button
- Two crotch buckle positions for a precise fit
- Removable and washable seat fabric for convenience and easy clean up
- Fabric free from flame-retardant chemicals
- Carrier weighs under 10 lbs
- Car seat base included
- Direct attachment for Vista® and Cruz® strollers
- Convenient adapters available for the Minu® and Ridge® strollers
- FAA certified for aircraft use
- Product Lifetime Warranty
UPPAbaby Aria V2 Key Features:
- Lightest infant car seat on the market weighing in at just 6 lbs.
- Extra-large, UPF 50+ canopy with pop-out sunshade and ventilation for airflow
- Two-piece robust infant insert ensures proper fit and body positioning for preemies from approximately 4 lbs. with ability to fit babies up to 4 months
- SmartSecure® System with red-to-green visual indicator accurately installs in seconds
- Effortless no-rethread 5-point harness for a customized fit as baby grows
- Enhanced safety with Anti-Rebound+ Panel and Load Leg for increased stability and energy absorption
- GREENGUARD® Gold Certified to support healthier air quality and low chemical emissions
-
Direct attachment for Vista® and Cruz® strollers + convenient adapters for Minu® and Ridge®
Specifications:
Vista V3 stroller:
- Suitable from birth with accessories or 3 months to 50 lbs. without accessories
- Dimensions:
- Unfolded: 36” L x 25.7” W x 39.5” H
- Folded with seat attached: 17.3” L x25.7” W x 33.3” H
- Folded without Seat attached: 13” L 25.7” W x 32” H
- Product weight for seat and frame: 27 lbs.
- Product weight for frame only: 20 lbs.
- Product weight for seat only 7 lbs.
- Please note that the Piggback board is sold separately and not included in this listing.
Mesa V3 Infant Car Seat:
- Suitable from approximately 0–1 years
- Suitable from birth (4 lbs - 30 lbs and up to 32” in height) - whichever comes first
- Car Seat dimensions: 17”W x 25.8”L x 23”H
- Car Seat on base dimensions: 17”W x 28”L x 25”H
- Car Seat base-only dimensions: 14.5”W x 21.3”L x 10.3”H
- Car Seat 9.9 lbs
- Base 9 lbs
Aria V2 Infant Car Seat:
- Suitable from approximately 0–1 years
- Suitable from birth (4 lbs - 30 lbs and up to 30” in height) whichever comes first (US only)
- Carrier Weight: 6 lbs (without canopy and insert)
- Base Weight: 12.8 lbs
- Carrier Dimensions 25.8 L x 17 W x 23.7 H
- Base Dimensions 23.9” L x 14” W x 15.2” H
V3 RumbleSeat:
- Suitable for children from 3 months to 40 lbs or 36″, whichever comes first
- Suitable from birth with the SnugSeat Accessory
- Compatible with Vista 2015+ (including Vista V2 and Vista V3)
- Note: RumbleSeat V3 adapters are for use in the lower position only and are NOT compatible with the Vista Toddler Seat, which can only be used in the upper position.
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
4.6 ★★★★★
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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
★★★★★ 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
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