SKU: 97913154040

100% Armega Crossbril Lightspeed (Lens: Hiper Spiegel Zilver)

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Description

100% Armega Crossbril Lightspeed (Lens: Hiper Spiegel Zilver)De 100% Armega Crossbril Lightspeed met HiPER spiegel zilveren lens is ontworpen voor rijders die het uiterste vragen van hun uitrusting en geen concessies willen doen op het gebied van zicht, technologie en prestaties. Deze uitvoering combineert het dynamische Lightspeed design met de meest geavanceerde innovaties binnen de Armega serie, waardoor je zowel visueel als functioneel een stap voor bent op de concurrentie. De HiPER spiegel zilveren lens is

De 100% Armega Crossbril Lightspeed met HiPER spiegel zilveren lens is ontworpen voor rijders die het uiterste vragen van hun uitrusting en geen concessies willen doen op het gebied van zicht, technologie en prestaties. Deze uitvoering combineert het dynamische Lightspeed design met de meest geavanceerde innovaties binnen de Armega-serie, waardoor je zowel visueel als functioneel een stap voor bent op de concurrentie.

De HiPER spiegel zilveren lens is speciaal ontwikkeld om contrast en diepteperceptie te verbeteren, wat essentieel is bij het rijden op hoge snelheid en in technisch uitdagende omstandigheden. Oneffenheden, sporen en veranderingen in het terrein worden sneller zichtbaar, waardoor je beter kunt anticiperen en met meer vertrouwen rijdt. Tegelijkertijd beschermt de spiegelcoating tegen fel zonlicht en vermindert deze hinderlijke reflecties, zodat je ogen minder snel vermoeid raken.

De Armega onderscheidt zich door het geavanceerde 6-punts lensvergrendelingssysteem, dat ervoor zorgt dat de lens stevig en veilig in het frame blijft zitten, zelfs bij zware impact. Het geïntegreerde quick-release systeem maakt het mogelijk om snel van lens te wisselen wanneer de lichtomstandigheden veranderen, zonder dat je gereedschap nodig hebt.

Het frame is ontworpen met maximale ventilatie en luchtcirculatie, waardoor beslaan tot een minimum wordt beperkt. In combinatie met de anti-fog coating blijft je zicht helder, zelfs tijdens intensieve inspanning of vochtige omstandigheden. Dit zorgt voor constante prestaties, ongeacht het weer of de ondergrond.

Voor optimaal draagcomfort is de bril voorzien van een drielaags schuim dat zich perfect naar de contouren van je gezicht vormt en zweet effectief absorbeert. Hierdoor blijft de bril comfortabel zitten, ook tijdens lange ritten of wedstrijden. De brede strap met siliconen grip zorgt ervoor dat de bril stevig op zijn plaats blijft op vrijwel elke helm, zonder te verschuiven tijdens sprongen of ruige passages.

Daarnaast is de Armega volledig compatibel met tear-offs, wat een groot voordeel is tijdens modderige of natte races. Hiermee kun je snel en eenvoudig je zicht herstellen zonder te stoppen, wat cruciaal is tijdens wedstrijden.

Met de 100% Armega Crossbril Lightspeed met HiPER spiegel zilveren lens kies je voor topklasse technologie, ultiem zicht en maximale controle op de baan – precies wat je nodig hebt om elke rit naar een hoger niveau te tillen.

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SKU: 97913154040

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4.8 ★★★★★
Based on 25 reviews
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Doug S.
Massapequa, US
★★★★★ 5
One Of My Top Ten Movies
It's a Terry Gilliam masterpiece that blends a touch of Monty Python, Twilight Zone, and Broadway! Worth the watch!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 3, 2026
T
Verified Purchase
Tripp Moore
Pawtucket, US
★★★★★ 5
Visually Brilliant, Darkly Funny, and Still Uncomfortably Relevant
I rented Brazil through Amazon primarily because I’d heard it described as a dystopian sci-fi classic, but I wasn’t fully prepared for just how strange, creative, and visually dense this movie actually is. It feels like George Orwell had a stress dream after getting trapped inside a malfunctioning government office building designed by someone obsessed with ducts and paperwork. The film does an incredible job blending dark comedy, bureaucracy, paranoia, retro-futurism, and outright absurdity into something that somehow still feels coherent. The world-building is fantastic in a very grimy, claustrophobic way where technology exists everywhere but almost none of it works properly. Everything feels intentionally inefficient and overcomplicated, which makes the setting weirdly believable. Jonathan Pryce does a great job playing a character slowly unraveling under the weight of an increasingly surreal system, and Robert De Niro’s appearance is memorable despite limited screen time. The production design is honestly one of the standout elements of the entire film. Nearly every scene has some strange visual detail happening in the background that adds to the oppressive but oddly humorous atmosphere. This definitely is not a fast-paced mainstream sci-fi movie, though. The pacing can feel slow at times, and the tone swings between satire, anxiety, fantasy, and bleakness in ways that probably won’t work for everyone. It’s the kind of movie where you occasionally stop and think, “What exactly am I watching?” while still wanting to keep watching. The Amazon streaming quality itself was good with no playback issues during my rental, and the film benefits from a decent screen because there’s so much visual detail packed into the sets and cinematography. Overall, Brazil is one of those movies that feels increasingly relevant the older it gets. Strange, unsettling, funny, visually inventive, and much more layered than I expected.
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Reviewed in the United States on May 23, 2026
J
Verified Purchase
Joel Bradford
San Leandro, US
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist). Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really. While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
M
Verified Purchase
Mr. Watkins
Bozeman, US
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
M
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***moviemaker***
Lexington, US
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
] On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters. (Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.) All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut. Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985. I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail: *In the 132-minute version you cut from Sam in bed with Jill, police sack goes over head, then CUT TO Pull off police sack to reveal Sam in Torture Chamber/Interrogation chair. This one cut is simply brilliant and very powerful. In the Criterion Version you have the added scene of Mr. Helpman as Father Christmas (completely out of charcater from the rest of the film) and the whole interrogation scene of Sam hanging from the rack inside the police/mail pouch which becomes narratively redundant and dilutes the impact of the final scene. *To end it with cooling tower/interrogation room fade to clouds was a great Gilliam wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to the European cut of just credits over cooling tower/interrogation room. *The Samurai Scene is divided into 3 separate scenes in the 132-minute version versus 1 LONG scene in the European cut. And you know what? Like most things, it works better in 3's. *The 132-minute version cuts straight to the Dinner Scene with Ida (his mother) ordering numero deux, trois, etc. while the European version has the entrance to the restaurant of going through the metal detector which really doesn't add anything and is again a bit redundant when the bomb does eventually go off in the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert. *And finally I just love that the 132-minute version opens on those clouds (outtakes from The Never-Ending Story) then goes to the Central Services advert about Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version also has the clouds opening (The Original European Cut didn't) but it's funny because the Studio asked Gilliam to start off with the clouds for the US Cut and he actually prefers it as quoted in his Director's commentary. Hilarious. Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011

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