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Louis Febre has been hired to score ABC’s Miami-set TV reboot of Charlie’s Angels. The new Angels are played by Minka Kelly (Friday Night Lights), Rachael Taylor (Grey’s Anatomy) and Annie Ilonzeh (Melrose Place). Ramon Rodriguez is co-starring as Bosley. Alfred Gough and Miles Millar wrote the pilot and are executive producing. Marcos Siega (The Vampire Diaries) directed the pilot and Drew Barrymore, Leonard Goldberg and Nancy Jovoven, who were all involved in the two Charlie’s Angels feature adaptations directed by McG, are producing the project. Febre previously scored the last four seasons of the CW hit show Smallville, which was created by Charlie’s Angels showrunners Millar and Gough. Among his best known feature projects are the 2002 thriller Swimfan and the sci-fi comedy Alien Trespass. Charlie’s Angels is set to premiere on September 22, 2011 and will be airing every Thursday night on ABC. For updates on the series,...

The release coincides with the two-hour Smallville series finale broadcast, airing Friday, May 13, at 8/7c on The CW. As Smallville concludes its 10th and final season chronicling a young Clark Kent's journey toward becoming Superman, it holds the record for the longest consecutive-running science fiction series in U.S. television history. On a weekly basis, the score to Smallville was composed as each episode was being produced. This scoring schedule provided the composers with the flexibility to alter the musical themes throughout the series to reflect the growing maturity of Clark Kent - from a freshman at Smallville High to a reporter at The Daily Planet. Mark Snow is an Ascap Award-winning songwriter who composed the score for the first six seasons of Smallville and has written music for The X-Files, Millennium, One Tree Hill, Starsky & Hutch and many more. Louis Febre is an Emmy Award-winning songwriter who composed the...

WaterTower Music has released a new soundtrack for the CW show Smallville. The album includes selections from the show’s original score by Mark Snow and Louis Febre. Snow was the composer on the project during its first six seasons, while Febre scored the last four seasons. The soundtrack featuring almost 70 minutes of music is now available to download on Amazon. Check out audio clips from each track after the jump. Smallville created by Alfred Gough and Miles Millar is about to air its 2-hour series finale this Friday on the CW. The show, which followed Clark Kent’s adventures during the years before he becomes Superman stars Tom Welling, Kristin Kreuk, Michael Rosenbaum, Allison Mack and John Glover.

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Here’s the album track list:

1. Grow Up Superboy – Mark Snow

2. Webmaster – Mark Snow

3. The Setup – Mark Snow

4. Where Am I – Mark Snow

5. Burn Baby Burn – Mark Snow...

DC Comics has announced the impending release of what amounts to a DC Comic geek’s soundtrack. The Music of DC Comics: 75th Anniversary Collection contains some great superhero tunes, ranging from 1941′s Superman March, through the theme for the 2008 animated tv show, Batman: The Brave and the Bold.

Check out the cover and full track listing below.

The Music of DC Comics: 75th Anniversary Collection

1. Superman March – Sammy Timberg (1941)

-Previously unavailable. Digitally remastered. From the Academy Award Nominated cartoon series “Superman” produced by Max Fleischer. This was the first Superman cartoon.

2. Theme From Superman (Album Version) – John Williams (1978)

- From the live-action film “Superman.” Digitally remastered.

3. The New Adventures of Superman – John Gart (1966)

- Previously unavailable. Digitally remastered. From the Filmation cartoon “The New Adventures of Superman.”

4. Lois and Clark / The New Adventures of Superman – Jay Gruska (1993)

- From the live-action TV Series “Lois and Clark”. Digitally remastered.

Chloe makes a decision that will change her friendship with Clark forever. Clark discovers that Davis is still alive and confronts Chloe about protecting him. The Thursday, April 30 episode of "Smallville" is called "Beast". Louis Febre who composes for the series twitted, "Beast is d-a-r-k."

Clark discovers that Davis did not die from the kryptonite exposure, and that he is taking Chloe out of town to escape from the people. Meanwhile, Oliver finds Jimmy breaking into Chloe's apartment. But things get rapidly worse after Davis jumps from the shadows and attacks both of them.

On the fate of Chloe in the upcoming episodes and the next season, executive producers Brian Peterson and Kelly Souders answer questions from E! Online. "It's a scary future for Chloe Sullivan because you never know what's going to happen because of that exact fact," Souders said, before adding "All we can say is her tragic...

Alien Trespass is a somewhat misleading title, in that it suggests a type of transgression when the film itself is, for want of a better word, as polite as a movie can be. It means to be a homage to B-monster flicks of the ’50s, a time when low-budget genre fare was far kinder and gentler than it is today. And in that it succeeds—but that’s all it succeeds at.

There’s no spin here, no suggestion of any kind of point of view about science fiction or horror cinema, no edge, no ambition to do anything but replicate the sort of cheap and simple creature features that played drive-ins back in the day. But to what end? It’s pleasant enough to watch an professionally made, but it’s certainly not scary and the situations and characters aren’t exaggerated or clever enough to be truly funny,...

    Those pesky no good aliens are at it again folks. No wonder nobody ever visits earth...Still, here we have the trailer for Roadside Attractions' "Alien Trespass" starring Eric McCormack, Jenni Baird, Robert Patrick, Dan Lauria and Jody Thompson.   See the trailer here.   What's it about?   Coming soon to a theater and drive-in near you: Alien Trespass, a thrilling sci-fi adventure from three-time Golden Globe winner and five time Emmy Award-nominated director/producer R.W. Goodwin ("The X-Files") and brought to you in glorious color! Alien Trespass is an exciting and entertaining homage to the great science-fiction movies of the 1950s, the post-war boom period when the country was filled with great hope and prosperity and, at the same time, lived under the threat of nuclear annihilation.   The story begins in 1957 in the star-filled skies above California's Mojave Desert. It is a special night for noted astronomer Ted Lewis (Eric McCormack...

Movie Jungle has images in from the sci-fi horror comedy "Alien Trespass," helmed by R.W. Goodwin ("The X:Files: Revelations," "The Fugitive" TV Series). James Swift and Steven P. Fisher make their writing debut on the film.   See all of the images from the gallery including the poster. Coming soon to a theater and drive-in near you: Alien Trespass, a thrilling sci-fi adventure from three-time Golden Globe winner and five time Emmy Award-nominated director/producer R.W. Goodwin ("The X-Files") and brought to you in glorious color! Alien Trespass is an exciting and entertaining homage to the great science-fiction movies of the 1950s, the post-war boom period when the country was filled with great hope and prosperity and, at the same time, lived under the threat of nuclear annihilation.   The story begins in 1957 in the star-filled skies above California's Mojave Desert. It is a special night for noted astronomer Ted Lewis (Eric McCormack...

Alien Trespass, a retro-ish science fiction comedy starring Robert Patrick, Eric McCormack and Sarah Smyth, has gotten an original score by Louis Febre. His previous credits include Swimfan, Control and Devil's Pond, and he won an Emmy together with John Debney for The Cape in 1996. Alien Trespass takes place in the 1950s and revolves around a crash-landing alien spaceship and the monster that escapes from it. R.W. Goodwin, who has produced and directed a number of X-Files episodes, helms the film which had its festival premiere recently at the Palm Springs Festival. Febre's score is, just like the film itself, flirting with 1950s sci-fi B-movies and thus features the early electronic instrument, the Theremin.

To animation aficionados, Ub Iwerks is a legendary figure. But for millions of moviegoers, his name fails to ring any bells. More than any other person, Iwerks was the key partner -- and later an employee -- in Walt Disney's cartoon empire, an empire that begat one of the world's largest entertainment companies.

"The Hand Behind the Mouse: The Ub Iwerks Story," written, produced and directed by his filmmaker granddaughter Leslie Iwerks, helps restore much of the rightful glory to this artistic and technical genius. The feature documentary, financed by Walt Disney Studios, opens an Oscar-qualifying one-week run at the El Capitan Theatre in Hollywood today, after which it faces an uncertain theatrical future. Clearly, this is prime material for television and video. But further theatrical play dates would be a fitting tribute to Iwerks, whose works were always designed for the big screen.

Walt Disney Co. vice chairman Roy E. Disney, a major force behind getting this film made, puts things succinctly in his on-camera interview, "Without Ub, there really wouldn't have been a Mickey (Mouse)."

Not only did Iwerks design the original Mickey in 1928, a scrawnier and much more mischievous figure than what is now the Disney corporate symbol, but he helped take cartoons into realms unimaginable in the early days. Cartoons were then, as film historian Leonard Maltin notes, "filler, pure and simple." Iwerks and Disney transformed them into an art form that sometimes received higher marquee billing than the feature film.

In their cartoon shorts, Iwerks and Disney, who supplied the story lines and gags, helped pioneer personality animation, in which characters dominate rather than jokes. When he left Disney for 10 years to run his own animation studio, Iwerks ventured into surreal humor and satirical gags that would later influence Chuck Jones and his cronies at Warner Bros.

When he finally put down his animator's pencil, Iwerks launched a second career in film technology. He created the first multiplane camera to bring a three-dimensional quality to animation. And after he returned to Disney in 1940, he invented the Xerox animation process and refined the optical printer and traveling matte process.

While the film -- driven mostly by interviews and a smoothly written narration delivered by Kelsey Grammer -- excellently traces the evolution of Iwerks' style and vision, it falls short in matters related to his personality. The film gives virtually no idea of what kind of human being Iwerks was. It also glosses over his split with lifelong friend Walt Disney, which produced a coolness that lasted the rest of their lives.

And though it was perhaps unavoidable, Iwerks is obscured by the towering figure of Disney himself. At times, Iwerks seems like a supporting player in his own life.

Where this film shines is in the inclusions of generous clips from the frisky and irreverent black-and-white Disney Bros. cartoon shorts, created by young, Midwestern-raised men for whom barnyard animals were an endless source of mirth. And while the film won a G rating, many viewers may be surprised by the risque material in Disney's pre-Hays Code cartoons.

One interviewee says Iwerks was an "anarchist" in his cartoons. While that's not really true, he clearly grew more experimental than Disney, who favored anthropomorphic animals and blushing maidens. In the end, Iwerks' satirical bent was what did in his indie animation studio.

The Depression-era public, wishing to escape life's travails, preferred personality animation to satire and surrealist sight gags. But in today's burgeoning feature animation field, where Pixar, DreamWorks and even Disney itself are straying from the old Disney mode, Iwerks' masterworks may once again find appreciative audiences.

Along with period music, John Debney and Louis Febre's music works particularly well to enliven the archival footage.

THE HAND BEHIND THE MOUSE: THE Ub Iwerks STORY

Buena Vista Pictures

Writer-producer-director: Leslie Iwerks

Narrator: Kelsey Grammer

Director of photography: Shana Hagan

Music: John Debney, Louis Febre

Editors: Stephen Myers, Seth Flaum

Color/stereo

Running time -- 92 minutes

MPAA rating: G...