When Marvel Studios announced that Anthony and Joe Russo would return to direct ‘Avengers: Doomsday‘, the reaction was largely one of relief. The brothers have, after all, been the driving force behind some of the most iconic moments of the Marvel Cinematic Universe.
Their juggling of huge casts and skill in balancing spectacle and character are almost unrivaled in the franchise. However, with that, commendation has always been a constant criticism: the appearance of their movies.
‘Avengers: Doomsday’ May Be The Best-Looking Russo Brothers MCU Film
Despite all these strengths, Russo-directed MCU entries have frequently been criticized as being visually two-dimensional, dull, or dark. Now, ‘Avengers: Doomsday’ seems to be a turning point and not just another epic episode. It feels like a deliberate redefinition of the Russo’s visual language. Instead of playing on the safe side, ‘Doomsday’ appears to be determined to show that the directors learned.
Related: Why Marvel Is Holding Back One Of Its Strongest New Heroes In ‘Avengers: Doomsday’
Moreover, one of the most persistent criticisms of the Russos’ earlier Marvel films has been their color grading and lighting. Although it worked in some situations, that restrained aesthetic became more controversial as the size of their movies increased. The airport fight between Team Cap and Team Iron Man in ‘Captain America: Civil War‘, in particular, was full of iconic character moments. However, visually, it left many viewers cold.
The dull gray skies, desaturated color palette, and flat lighting killed what would have been a glorious collision of the largest Marvel heroes. The same was said about ‘Infinity War’ and ‘Endgame’, where the whole sequences, Nidavellir, and the final battle, were criticized due to their dark visuals and excessive use of CGI. That trend seems to be changing with ‘Avengers: Doomsday’. The footage that has been presented thus far, both directed by the Russos, indicates a new focus on clarity, contrast, and color.
The pictures are more alive, as the light and compositions are sharper, and the characters and the environment breathe. The tendency to use physical sets and real places is quite evident, which adds visual richness to the film. Real-world settings enable more dynamic staging and real lighting interactions. They eliminate the digital fog that frequently afflicted earlier entries. The result is footage that feels grand without being visually exhausting, epic, but still legible.
‘Doomsday’ Feels Like A Visual Reset
One of the key causes of this change is who is behind the lens. For ‘Avengers: Doomsday’, the Russo brothers have enlisted the services of a new cinematographer, Newton Thomas Sigel, instead of going back to their long-time partner, Trent Opalach. While Opalach’s work established the appearance of the previous MCU movies of the Russos, Sigel introduces a new sensibility, based on the atmosphere, texture, and cinematic contrast.
In case you missed it: ‘Avengers: Doomsday’ Could Reveal Doctor Doom’s Most Disturbing Multiverse Strategy
Sigel’s resume speaks volumes. His work, whether it is the neon-dipped intensity of ‘Drive’ or the expansive emotional palette of ‘Bohemian Rhapsody’, shows a good command of visual storytelling. For superhero fans, his work on ‘X-Men: Days of Future Past’ continues to be a pinnacle of the genre, with spectacle and visual grace. This doesn’t guarantee that ‘Avengers: Doomsday’ will succeed on every front. But visually, the signs are promising.
