The Marvel Cinematic Universe is in a period of highs and lows. That feels like a significant decline from the previous era of uninterrupted success that greeted their first decade. At least on the big screen, Marvel drops at least one hit for every flop it brings out.Thunderbolts*is finally revealing its first glimpses, revealing a project that seems free from many of the big problems that weighed down previous entries. The film’s first trailer looks solid, and fans are quick to celebrate Andrew Droz Palermo for that newfound visual style.
Is it getting increasingly difficult to maintain interest in the Marvel Cinematic Universe?Thunderbolts*seems like a tough project to sell to anyone who hasn’t already bought into the whole franchise. It’sa team-up vehiclefor a cast of side characters. The closest any of these figures come to headlining a project is Bucky’s double-act with Sam Wilson. Luckily, there’s still a chance that the film is good enough on its own merits to win over audiences.
Eric Pearson, Lee Sung Jin, and Joanna Calo
Stars
Florence Pugh, David Harbour, Sebastian Stan, Hannah John-Kamen, Wyatt Russell, and Olga Kurylenko
Release Date
June 20, 2025
Cinematographer Andrew Droz Palermo shotThunderbolts*. Marvel planned to begin principal photography last June, but the concurrent strikes delayed production. It didn’t pick up until this February, when the cast and crew began shooting at Atlanta’s Trilith Studios.SinceAnt-Manin 2015, a huge percentage of Marvel projects have been shot in whole or in part on the volume at Trilith. Considerable portions of this film, like most Marvel films, were shot in front of a blue-screen environment and entirely VFX-generated. This makes the role of a cinematographer a little unusual. Those who’ve watched a “making of” special for a show likeThe Mandalorianwill see professionals moving the camera around a fictional environment as if they’re in a real space.Thunderbolts*was also shot in Utah and New York, but the film’s appearance seems striking so far. The most notable change from the usual Marvel project is the dynamic color grading. Shots likeBucky aiming his weaponagainst a gorgeous sky stand out. Andrew Droz Palermo is no stranger to the material, but his work here seems unique.
What else has Andrew Droz Palermo done?
In the world of Marvel, Andrew Droz Palermo provided cinematography fortwo episodes ofMoon Knight. Working with directors Justin Benson and Aaron Moorhead, Palermo created one of the most visually interesting series in the MCU. The show’s lead director, Mohamed Diab, charged Palermo with capturing Egypt in a more authentic way, escaping the usual appearance. His work on the show was stellar, but he’s gone far beyond the MCU. Here are some selected entries in his filmography:
You’re Next
This well-received horror film comes from Adam Wingard and Simon Barrett. Palermo worked with the duo previously onTape 56,the framing short of 2012’sV/H/S.You’re Nextwas the slasherthat introduced Wingard’s work to a massive mainstream audience. The same is probably true of Palermo, who established himself as an excellent cinematographer on the project. The film’s visuals remained among its strongest aspects, escaping any difficulties with the script. It’s a mix of classic slasher techniques and more modern horror twists. Palermo makes the brutal murders look good.
A Ghost Story
Palermo’s first collaboration with director David Lowery wasthis minimalist horror film.A Ghost Storytells the tale of a man who dies unexpectedly. He remains on Earth as a ghost, which the film represents with a sheet with eyeholes over his very mundane form. It would take a Herculean effort to make that concept look remotely visually interesting. Lowery does a lot with a little. Palermo’s vision paints in gorgeous colors and tells the story through its visuals. Palermo works in rhythms with masterful timing, turning the sedate film into an enigmatic journey. Some of Palermo’s best work is with Lowery. He finds impressive transitions through reality that turn something dull into something impressive.
The Green Knight
By far Palermo’sbest work isThe Green Knight. Another collaboration with Lowery brings out the best in Palermo. It’s a massive, bizarre, glorious project that feels as truly epic as the old tale should. Palermo’s work with incredible environments and stellar visuals makes the film far more engaging. While every element of the film works, some of the shots are truly jaw-dropping. Palermo received a nomination for the D.C. Area Film Critics Association Award for Best Cinematography. It’s a truly impressive work of art that deserves a lot more attention.
Thunderboltsis in good hands with Andrew Droz Palermo. His work on a variety of projects might explain why the next Marvel project looks so much more engaging than many recent entries. The best-casescenario is thatThunderboltsis a stellar action blockbuster, prompting Marvel to learn the most obvious lesson. Characters can only do so much. Only artists like Palermo can save superhero movies.
