One exception is the Espresso Frappuccino. Specifically, grande coffee-based frappuccinos contain anywhere from 85-105mg of caffeine. And a few crème frappuccinos include tea or chocolate. This is because the main sources of caffeine in frappuccinos are coffee, tea and chocolate. While all Starbucks coffee frappuccinos contain caffeine, not all crème frappuccinos are caffeine-free. There are two basic types of Starbucks frappuccino beverages: coffee frappuccinos and crème frappuccinos. Never call a Starbucks Frappuccino a frappe. ![]() Coffee and Mocha were the original two flavors of Starbucks frappuccinos introduced in 1995.Want an extra boost of caffeine in your frappuccino? Order it with a shot of espresso or affogato-style.Starbucks has caffeine-free frappuccinos and it’s possible to order a decaf frappuccino.There are two tea frappuccinos- Chai Crème Frappuccino and Matcha Crème Frappuccino.With the exception of the Coffee Frappuccino and Espresso Frappuccino drinks, coffee-based frappuccinos do not actually contain freshly brewed coffee or espresso.All coffee frappuccinos and some crème frappuccinos have caffeine. There are two main types of Starbucks frappuccinos: coffee frappuccinos and crème frappuccinos.Frappuccinos come in three cold cup sizes-tall, grande and venti.Starbucks Frappuccino blended beverages are ice-cold, creamy drinks, often topped with whipped cream.Here you can see which Starbucks frappuccinos can give you a bit of a caffeine perk and which to choose if you want to go caffeine-free. ![]() ![]() One question Starbucks baristas answer regularly is, “Do frappuccinos have caffeine?” If you’ve also been wondering how much caffeine or coffee is in your favorite frappuccino, then this guide is for you.
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![]() Storm Warriors (2009) was a sequel made by the Pang Brothers, featuring return performances from Aaron Kwok and Ekin Cheng. As Wind, Ekin Chang seems far too baby-faced and bland to be the superhero the film requires but Aaron Kwok, with blue-dyed black hair, plays to all the wonderfully pouty, brooding postures of the adolescent manga hero, which director Andrew Lau is more than happy to accommodate, posing him atop rooftops outlined against coloured storm clouds and the like. ![]() The Storm Riders also imports classical Japanese actor Sonny Chiba who gives a grandly theatrical performance as the lead villain. There is all the usual enthralling fantastique stuntwork and fight sequences – power blasts, flying sword combat, swordfights with bamboo stalks, a climactic fight with one warrior dancing across the heads of a roomful of people frozen in position and characters sweeping aside hundreds of arrows fired at them with one hand. Unlike many Western digital effects films where the effects are the end in themselves, here they are merely the tool for the furtherance of the otherwise dramatically intense action (notably an excellent battle with a fire dragon or a sequence where the camera conducts breathtaking sweeps around sword combatants on the head of a giant Buddha statue). The Storm Riders also marks a point where Hong Kong cinema appeared to discover digital effects. (l to r) Brothers Striding Cloud (Aaron Kwok) and Whispering Wind (Ekin Cheng) ![]() In all regards, The Storm Riders tries to be epic – it has a budget far greater than most Wu Xia films, allowing the construction of huge-scale indoor and outdoor sets and entire villages and cities. Even condensed from the original multi-story epic, The Storm Riders contains enough plot to fuel another entire trilogy of Star Wars films for George Lucas. With the scant attention usually paid to plot by these films, the sweeping canvas that The Storm Riders draws itself across immediately raises the level of expectation. The plot is based on a Hong Kong comic-book Fung Wan (1989– ), which was published in twelve volumes in English translation, Jand comes in at a mammoth 127 minutes (which may not be an extravagant length for a film but is marathon length when one considers the pace at which Hong Kong fantasy/action moves). The Storm Riders emerges as some epic of the genre. ![]() The cycle regularly celebrates dizzying melee sequences where combatants exchange sword blows and kicks to the head in mid-air and travel by bouncing off trees or dancing along blades of grass while battling demons and ghosts with paper prayers and feng shui enchantments. This was followed by many similar films including Mr Vampire (1985) and sequels, Swordsman (1990) and sequels, Saviour of the Soul (1991), The Bride with White Hair (1993), Green Snake (1993) and numerous others, before the colossal breakthrough success of Crouching Tiger, Hidden Dragon (2000). The film that began the cycle is generally credited as being Zu: Warriors from the Magic Mountain (1983) but it was A Chinese Ghost Story (1987) that carried it to a crossover success in the West. Wu Xia grew out of the kung fu and martial arts films of the 1960s and 70s. Hong Kong’s Wu Xia cycle contains some of the most exciting fantasy being made anywhere in the world. |
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