The attendant 5.1 DTS - HD MA track proves that Zemeckis is still capable
of turning on the afterburners with regards to mixing set - pieces (there's an almost
musical quality to the Blitz as bombs clobber the subwoofer and hails
of gunfire flank the viewer), yet when I think
of Allied, I think
of its restrained use
of score — much
of the music is diegetic — and
of how Zemeckis finds a remarkable number
of variations in the sound
of the air around Max and Marianne's loaded silences.