Yeah, I dunno. I really wanted that movie to be awesome, and even tried convincing myself differently about the things that bothered me initially, as you are trying to do right now. I just couldn't do it. There is a distinct and abrupt shift in realism about halfway through the movie that completely shatters the illusion of the movie.
The only way I can really describe it is in likeness to art. When someone creates a painting of a landscape for example, they are creating a sort of reality. Now, a painting of a landscape doesn't have to be photo-realistic in order for it to be "convincing", it just has to be "seamless" in the sense that there is nothing in the picture that contradicts itself.
When you are able to do this, you can paint a landscape (or whatever) in almost any manner that you want, and it will still seem convincing, like impressionism for example. The only reason the splotchiness doesn't seem to be a marker of artificiality is because the whole painting is seamless in its "splotchiness". When an artistic creation is seamless, we are able to momentarily suspend our belief and really let our selves be "convinced" of the reality that is in front of us. Take a movie like shrek for example. The graphics aren't so good that we can't distinguish what is computer animated and what isn't. But since everything has that same sort of cartoony aesthetic, it seems natural, it seems believable.
The problem with this movie is that there is a big fat seam running right down the middle of it. It begins very realistically...in fact; we don't really have to suspend our belief at all in order to be convinced of the "reality" of the plot:
-A scientist reprograms a virus in order to target and cure cancer (this sort of thing is actually happening these days), and it goes wrong. There isn't anything so unbelievable in that notion that you have to "loosen" your standards of what is realistic in order to "buy it".
-They quarantine NYC and society begins to break down...also very realistic in itself.
-99% of the population dies, leaving only 1% of survivors. Again, very possible, but as you can see, they are easing the audience into the reality they are creating by gradually presenting more and more fiction into the plot...but are doing so smoothly enough as to not interrupt our suspended belief.
-Of the 1%, most are these rabid human-ish things that go around feasting on the few healthy survivors that remain. One of these survivors is Duvall, and you see how he manages his everyday life in such conditions. Again, because of the incremental progression of the level of fiction, this doesn't seem all that far-fetched.
*That’s where the level of fiction should have begun to level off*
Instead, the writers got a bit carried away with the zombies. The progression of the increasing level of fiction breaks away from the pace set in the first half of the movie, which in turn breaks the illusion of the movie. When the zombies start acting more fantastical than mere infected humans with hopped up adrenaline glands and UV sensitivity, you snap out of the "trance" the movie lures you into. You suddenly realize "oh yeah, this is a fictional movie".
That moment of lucidity when watching a film, unlike in a dream, is not a good thing. A sign of a good movie is one that captures you, one that gets you sucked in. The movie became too unbelievable too quickly for the illusion to be seamless. Now, if the movie had that same level of fiction the whole time, or if it transitioned more smoothly, that stuff wouldn't have broken the illusion. But it began as one level of reality and abruptly shifted to another, less believable reality.
Its like seeing a realistic drawing of a face right next to a photo of the same face. Only when there is that inconsistency do you really notice the "artificiality" of the drawing...whereas if you were to have seen that same drawing apart from the photo, it would have seemed much more realistic and convincing.
Did that make any sense?
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