It's not just CGI, background replacement and other effects work. Some cinematographers have been noting that the increasingly flat, uninspiring look of much modern content is partly due to the amazing dynamic range of modern camera imagers as well as HDR production workflows. While wonderful, this also enables a kind of laziness (or expediency) when shooting. You don't have to specially light many scenes as much (or at all) as long as there's enough ambient light. While this can enable styles like cinema verite to be higher-quality, it also lets film-makers just go with ensuring there's enough flat light overall and call it good enough. Intentional lighting is hard and time-consuming but it's also one of the most expressive visual elements of film-making.
Another factor is that dramatic lighting tends to dance closer to the edge in terms of quality. Lighting a high contrast scene with inky blacks in one area and your hero elements in moody shadow means that those very dark areas are at risk of slipping into the floor of imager noise. The same is true when there are extremely bright elements near the upper-bound of clipping. While modern imagers and HDR capture give film-makers more latitude than ever to avoid these problems, perversely, the same luxuries seem to be making younger film-makers less skilled, or at least less confident, in their ability to dance close to the edges of too dark or too bright.
Newer post-production color grading tools also enable new degrees of what's possible to "just fix in post." Once again, this is wonderful when we need to fix a mistake or for amateur and hobby productions which don't have the time, budget, gear or even knowledge to do creative lighting. The downside is it creates an ever-present temptation when under time and/or budget pressure to take the shortcut and just bounce a key light off the ceiling and a fill off the wall and call it done. It's sad because modern imager sensitivity and battery-powered, micro-sized lighting instruments now make it easier, cheaper and faster than ever to do intentional lighting at a Vittorio Storaro level. Storaro might spend half a day with a crew of six gaffers lighting one scene that a four person indie crew could largely recreate today in an hour with $1k of lights, clamps and stands from Amazon.
This recent video discusses the problem from a cinematography perspective: https://www.youtube.com/watch?v=EwTUM9cFeSo