Count The Chicago Sun-Times among the numerous publications singing the praises of Pushing Daisies. Here's part of the article from that newspaper...
When Ned was a boy, he ran with his dog in a field that looked for all the world like a painting of three colors: blue-blue sky, yellow-yellow daisies and green-green grass. It was Utopia.
Pushing Daisies follows Ned as an adult piemaker, along with Chuck (a woman who's the love of his life), plus their detective partner Emerson. They find corpses, Ned resurrects them to find out who killed them, then he kills them again.
That is the literal breakdown of Pushing Daisies. But the magic of this procedural, romantic fairy tale is in the brush strokes, not the frame.
In Hollywood-speak, it seems like Amelie meets Tim Burton, although director Barry Sonnenfeld, who is responsible for the tone, bristles gently when people say this since, well, he's Barry Sonnenfeld.
Many scenes look sumptuously saturated in colors. Some shots are composed like postmodern and surreal pictures. Pushing Daisies debuts October 3, but it's already garnering better buzz from critics than any other new show this fall.
It works on its most important level, as a twisting tale about lovable goofballs, told with lovely images and crisp dialogue.
When Ned (Lee Pace) sees his childhood crush Chuck (Anna Friel) for the first time in years, he awakens her from death and falls in love with her all over again.
"I guess dying is as good an excuse as any to start living," Chuck says.
But because his second caress would kill her, Ned and Chuck may never kiss or touch each other again. Their sober-eyed partner Emerson (Chi McBride) views their love as tragic and as a bit of a business encumbrance.
Follow our link to read the full article on this ABC show.
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