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American Music Preservation.com:

The “Opening Titles” begin with a Middle-Eastern string instrument sound and other ethnic winds and percussion with string backdrop that gradually appears. It is a leaner orchestral sound from other standard Hollywood Arabic-influenced scoring which gives way to just the hint of a thematic idea on guitar. The vocalizations that Iglesias adds here, though often a common failsafe approach, flow out of the score material far more naturally and appropriately. That is to say that they are not “extra-musical” but an intuitive expression of the musical underscore… read more

Monster sand Critics.com:

Iglesias smartly decided to get inspiration from Afghan music, which he described in an interview as “closer to Persian with an admixture of Pakistani music,” but not merely ape it, and his score gracefully incorporates elements from various styles (an Iranian zither in “Kite Shop,” a wailing electric guitar on “The Stadium”) without sounding like a patchwork. Iran-born, U.S.-based avant-garde singer Sussan Deyhim contributes particularly haunting vocals on “End Phone Call.”… read more