Dune ★★

The biggest problem, though, is Hans Zimmer, whose score is incredibly loud and unremittingly the dominant sound for more of the movie’s 155 minutes than not. Zimmer’s approach to musical cultural appropriation has been blithe since at least 1994’s The Lion King, while his subsequent rise to Coachella fame has accelerated improbably. Both worlds collide in Dune’s score, a nightmare barrage of field-filling drums punctuated by the odd muezzin-ish call to prayer—given how fraught the material already is (brown-skinned desert peoples vs. The Man), the Orientalist tinting is poorly thought through. Every time I went to the multiplex in summer 2016, I’d walk past an auditorium booming the thunderous punching-sounds foleys and Zimmer’s score from Batman v. Superman: Dawn of Justice, and it never failed to make my life a little more unpleasant. Five years later, the most cogent thought I emerged from Dune with was, “Hans Zimmer must be stopped.”

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