Those examples are all problematic in their own way.
But at least when you're inviting musicians into a studio in early stages, there is a more conscious effort into understanding the ethos of a sound/colour/instrument outside the Western orchestral canon. There is room for play and exploration. Whereas increasingly advanced sample library presets are starting to kill the imagination in composers.
There is also a difference between employing (and sometimes appropriating) such "non-traditional" instruments to generate a unique sound/textural palette (like Horner and the Shakuhachi, or Thomas Newman and half his career) and employing ethnic instrumentation to try to reflect the cultural context of the film (in this case, representing Ancient China). For the latter, I expect the composer to do their homework, especially with a massive budget picture like this.
Making these nuanced choices all off of what sounds good on a computer is lazy lazy musicianship. And it probably explains why this Mulan score has no real personality of its own.
Look to early Zimmer, or even Görannsson (for something more recent), for better examples of what more substantial investigations into musical worlds outside their own look like.