Is your definition of great action "recognizable hero punches other recognizable hero"?
Marvel's "house style," the visual consistency that makes its mega-franchise installments television-esque, buckles in Civil War. Captain America: The First Avenger had grand, side-scrolling action set pieces that threw back to the WWII era. The Avengers whizzed around New York with single, sweeping camera moves. The Winter Soldier went for the Bourne-style shaky cam.
With so many characters to manage, so much geography to cover, brother directors Anthony and Joe Russo are stuck shooting Captain America: Civil War like Arrested Development Season 4. Everything's tight and constantly cross-cutting, creating the illusion of everyone being in the same room. Who knows who was where and when, but for all the crime fighters crammed into the script, characters rarely entangle. The cold open, the Avengers thwarting a terrorist's plan to unleash a biological weapon, is a spastic, suffocated version of the Age of Ultron first scene. The big airport throw down teased in the trailers, and a brief mano-a-mano round at the tail end, are Civil War's few "splash page" moments, almost as crazed and colorful as promised. The whole movie rides the basic thrill of seeing Captain America, Iron Man, Falcon, Ant-Man, Black Widow, Vision, Scarlet Witch, etc., etc. do their thing. Not all at once. In pairs.