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Description
【究匠煮】甜在興 紅豆藜麥紫米粥(250gx2入/盒)(250gx2 ) 2 250*2 18() ( ) 250 2 100 226 91 5. 3 2. 1 0. 9 0. 4 0. 2 0. 1 0 0 49. 2 19. 7 22. 3 8. 9 2 1 Better Food for Better Life No. 1 2021
【究匠煮】甜在興 紅豆藜麥紫米粥(250gx2入/盒)
成分單純健康・微甜順口・暖心暖胃
嚴選屏東萬丹—紅豆
料理界紅寶石 —藜麥
營養滿點米中極品——紫米
健康美味甜點 開包即食
冷冷吃、熱熱吃、冰冰吃都可以呦
料理界紅寶石 —藜麥
營養滿點米中極品——紫米
健康美味甜點 開包即食
冷冷吃、熱熱吃、冰冰吃都可以呦
規格說明
包裝規格
2入/盒
內容物
成 分 / 水、紫米、糖、紅豆、紅藜麥
淨 重 / 250公克*2入
原 產 地 / 台灣
保存期限 / 18個月(未開封)
有效日期 / 標示於包裝上(西元年/月/日)
保存方式 / 常溫保存，請置於避光陰涼處
過敏原/ 本產品生產製程廠房，其設備或生產管線有處理甲殼類、花生、牛奶、蛋、堅果、芝麻、含麩質之穀物、大豆、魚類、亞硫酸鹽類等，食品過敏者請留意。
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營養標示 |
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每一份量250公克 本包裝含2份 |
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每份 |
每100公克 |
|
熱量 |
226大卡 |
91大卡 |
|
蛋白質 |
5.3公克 |
2.1公克 |
|
脂肪 |
0.9公克 |
0.4公克 |
|
飽和脂肪 |
0.2公克 |
0.1公克 |
|
反式脂肪 |
0公克 |
0公克 |
|
碳水化合物 |
49.2公克 |
19.7公克 |
|
糖 |
22.3公克 |
8.9公克 |
|
鈉 |
2毫克 |
1毫克 |
—Better Food for Better Life—
如果您和我們一樣，效法職人執著、專注、超越自我的精神
那麼這裡會是您的天堂
我們走訪台灣各地，矢志發掘每個用心的手藝，從食材產地、風土條件、文化歷史、製作技法，
找尋契合匠心生產的食材，呈現美味的優雅姿態；
讚嘆自然的恩賜，讓我們能透過食物連結這片土地。
秉持初心，發掘每一種食材的台灣在地職人精神，
我們深信，若有夠多的您，嚐到食物的真實滋味，大拙匠人也許就會對世界有小小的正向改變：
食品之「品」不僅是品項，更是品味；
三千年前老子開釋大巧若拙，至今依舊恆真雋永，
我們試圖以出世的質樸踏實，催化以歲月，
創造入世的獨到美味。
—大拙匠人作品No.1—
匠伴麵·2021年橫空出世
這是一款尋找 “初心” 的味道：
大巧不工，外貌簡樸，食之，卻有感人肺腑之味。
曾經，你習慣那份樸實醇厚的「手路麵」滋味
而漂泊倉促的節奏和饗宴，逐漸麻痹記憶，無情地沖刷味覺的眷戀。
驀然回首，心裡最純淨柔軟的桃花源，還是陳舊在記憶裡，
阿嬤的手路麵，加上獨家配方與家傳手熬鵝油，透過熟悉的熱騰香氣，帶來真切的樸實美味。
那口豐富的色、香、味，成為心中無可取代、烙印在我們心中的「美味」——
其實，美味就在心裡，我們僅是喚醒對它的記憶與美好，
經由不斷創造更美味的食品，提供更具品味的生活方式。
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4.3 ★★★★★
Based on 9 reviews
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Product Reviews
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
★★★★★ 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.
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Reviewed in the United States on March 19, 2026
★★★★★ 5
Good
Good
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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