Pay in installments of $5.57 with
,
and
Shipping Estimate
USA
- USA
- CAN
- USA
- CAN
Ships within 48 hours · Estimated delivery Aug 3 - Aug 8
Promo Codes Available:
For Your Every Summer RSVP, with Code: SUMMER15
Description
Alfaparf Milano Semi Di Lino Density Thickening Low Shampoo 250ml - shampoo ispessenteFeatures FILL AND REVITALIZE Take your thin, aged hair to new heights with our low thickening shampoo. This gentle shampoo is formulated to cleanse and body thicker, revitalized hair. Its rich, creamy foam texture won't weigh you down and is suitable for frequent use. COLOR SAFE VEGAN FORMULA Gentle on scalp, hair and color, this volumizing shampoo contains our Shine Fix complex to give you 24 hours of illumination from root to tip. The Urban Defense
Features
- FILL AND REVITALIZE - Take your thin, aged hair to new heights with our low thickening shampoo. This gentle shampoo is formulated to cleanse and body thicker, revitalized hair. Its rich, creamy foam texture won't weigh you down and is suitable for frequent use.
- COLOR SAFE VEGAN FORMULA - Gentle on scalp, hair and color, this volumizing shampoo contains our Shine Fix complex to give you 24 hours of illumination from root to tip. The Urban Defense Pro Complex is responsible for fighting pollution from your thin hair.
- COMPLETE HYDRATION - This fine hair shampoo provides a protective barrier, keeping your strands hydrated in case of temperature and humidity changes. The filling complex allows your hair to replenish and give thickness to fine hair that has lost its natural body.
- How to use: distribute the volume shampoo on wet hair and lather with water, followed by a gentle massage. Rinse carefully and repeat if necessary.
- The Alfaparf Promise: All our hair care products are made in Italy, free from ingredients of animal origin or derivatives. Our brand strives for paraben and sulfate-free innovation with cutting-edge technologies in professional thickening hair products.
Product Description
Product Description A thickening and volumizing shampoo that gently cleanses and adds body, for thicker, revitalized hair with a youthful and healthy look. Sulfate-free shampoo is specially formulated for aging and fine hair. Your hair will look fuller, thicker and revitalized. It is gentle on scalp and hair and hair color. The rich, creamy foam provides a pleasant deep cleansing feeling and does not weigh down the hair. Semi di Lino Density hair care products are vegan formulas free of ingredients of animal origin and derivatives. The shampoo is a biodegradable formula, and the packaging is made from recycled and recyclable plastic and made in Italy. The bio-based fragrance, with powdery and fruity notes, is obtained naturally and obtained thanks to renewable sources. Semi di Lino Density products contain five unique complexes of active ingredients that protect and revitalize the hair. The filling complex contains amino acids and peptides that act to plump and thicken fine hair that has lost its natural body. Amino acids penetrate inside the hair fiber, nourishing and strengthening the structure so that the hair can regain a healthy appearance. The peptide creates a barrier effect to protect hair and the antioxidant properties promote scalp wellness for younger looking hair. Climate-Proof complex provides a protective barrier, keeps hair hydrated and protects it from weather conditions due to humidity and temperature. Provides hair with silky feel, non-stop hydration for 7 days and 72 hours of frizz control, even with 98% humidity. Urban Defense Pro is a unique complex that is a full protection anti-pollution shield. Protects hair fiber from contaminants and heavy metals. Shine Fix Complex is a flaxseed extract that provides an extraordinary and long-lasting shine from root to tip. Color Fix Complex is a UV and anti-oxidant filter for beautiful, long-lasting color. Ingredients Aqua (water), sodium olefin sulfonate C14-16, cocamidopropyl betaine, acrylates copolymer, polyimide-1, perfume (fragrance), phenoxyethanol, glycol disteearate, Peg-200 hydrogenated glyceryl palmate, lactic acid, sodium benzoate, ethylhexylglycerin, lyl. Aurea. th-4, Glue -7 Glyceryl Cocoate, Polyquaternium-10, Peg-150 pentaerythrityl tetrasteate, Sodium Hydroxide, Peg-6 Caprylic/Capric Glycerides, Benzyl Salicylate, Hydrolyzed Pea Protein, Linalool, Cinnamal Hexyl, Limonene, Sodium Pca io, lactate sodium, arginate ine, aspartic id, glycerin, pca, leuconostoc/radish filtered root ferment, glycine, alanine, carnosine, ethylhexyl methoxycinnamate, serine, valine, isoleucine, proline, threonine, histidine, phenylalanine, linum usitatissimum (linseed), Caesalpinine seed extract ia Spinosa, potassium a. um Sorbate, Biosaccharide Gum-4 Directions Distribute over damp hair and lather with water with a gentle massage. Rinse carefully. Repeat if necessary.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 28 reviews
Sort
Product Reviews
★★★★★ 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 19, 2026
★★★★★ 5
Good
Good
WAS THIS REVIEW HELPFUL?YesReportShare
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.
WAS THIS REVIEW HELPFUL?YesReportShare
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.
WAS THIS REVIEW HELPFUL?YesReportShare
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)
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 26, 2014
recommand products
9LE364800920395 Sharp Main Board, 3648-0092-0150, 3648-0092-0395, 0171-2271-5824, LC-48LE653U
34.99
Go Rhino 14-19 Chevrolet Silv 1500 LD (Classic) 3000 Series StepGuard - Black (Grille Guard Only)
250.00
Fragrance Gel - Musk Jasmine 135g
43.00
Sweetie Snuggles™ Plush - Highland Cow
24.99
Go Rhino 15-22 Ford F-150 / 19-22 RAM 1500 / 07-21 Toyota Tundra XRS Cross Bars Kit - Tex. Blk
230.00