Call them Angels of the Mourning.

The new “Charlie’s Angels.” written and directed by Elizabeth Banks– one of our favorite people– is headed for a big flop this weekend.

Last night in previews, the new Angels made just $900,000. Predictions are for a $12 million weekend, if lucky. That’s pushing it.

The new “Charlie’s Angels” stars Kristen Stewart and two actresses no one’s ever heard of. It also a convoluted plot, with three Bosleys and who knows who is voicing Charlie. (It should have been Robert Wagner, who took over from the beloved John Forsythe.)

Stewart plays an androgynous Angel named Sabina, not Sabrina. I’m sorry, but that doesn’t fly. None of it does. The audience doesn’t want Angels who aren’t smart, sexy, women. This was never a PC organization. We want Jaclyn Smith, Kate Jackson, and Farrah Fawcett. And Cheryl Ladd. All the fun is gone.

On Rotten Tomatoes, these Angels have scored a lowly 58%. There is no enthusiasm for it. But you could tell when what seems like years ago, Miley Cyrus, Lana del Rey, and Ariana Grande released the title track called “Don’t Call Me Angel.” It was met with yawns. Three superstars, no one cared. And “Don’t call me angel” is the chorus from another classic hit, “Angel of the Morning.” That should have been the song they covered.

Sony needn’t worry. They’ve had a great year with “Once Upon a Time in Hollywood,” the latest Spider Man movie, “Far from Home,” and coming soon is Tom Hanks in the wonderful “Beautiful Day in the Neighborhood.” “Zombieland” has also done very well, and “Little Women” should be a banger, with loads of Oscar nominations.

Dupont will no longer be a Teflon corporation after audiences see  Todd Haynes’s memorable scary “Dark Waters,” opening November 22nd. Mark Ruffalo stars as the corporate lawyer from Cincinnati who took down the company and won a $670 million settlement for rural West Virginians who were poisoned by the company when they put something called C-8 in Teflon.

Yeah, the Teflon in our pans. It turns out everyone in the world is infected in some way now, it’s far worse than just the local farmer. Now they’ve removed C8 from Teflon, but the damage has been done.

Feeling nervous? “Dark Waters” is a call to arms directed by Todd Haynes, who usually deals with more intimate films. But activist Ruffalo discovered the story of how Rob Billot working for Cincinnati law firm Taft– who usually worked for the bad guys– saw what was happening and decided to do something about it. He learned how babies were being born deformed, people worked with Teflon were dying of cancer, farm animals were losing their minds and expiring at alarming rates.

“Dark Waters” premiered Tuesday night at Lincoln Center’s Walter Reade Theater with a swell, old fashioned dinner at Lincoln Restaurant. Focus Features has a winner in this descendant of “Silkwood” and “Erin Brokovich” with all-star cast that includes Ruffalo, Anne Hathaway, Tim Robbins, Bill Pullman, Bill Camp, and Mare Winningham.

Everyone showed up except for Hathaway (on bed rest waiting for baby number 2). More on her in a minute. It was Ruffalo, an environmental activist, who pulled this project together. Remember Haynes is better known for his character pieces. But he also made a movie years ago with Julianne Moore called “Safe,” in which no one was safe from chemicals. In a way, he’s return to an old interest and done a smashing job. This might be his most commercial movie.

Ruffalo plays  lawyer Billot, who’d just made partner at a white shoe law firm Taft when his Parkersburg, West Virginia grandmother sends two local farmers to him. All their cows are dead or going mad, everyone is sick. A massive amount of data has already been compiled and hidden by Dupont, which knows what’s happening and won’t do anything about it. Selling frying pans is more important.

Out of the frying pan and into the fire went Billot, who had a young family and dwindling financial resources. The case against Dupont went on for years, but luckily Billot had the help of his firm and two older lawyers (Tim Robbins and Bill Pullman, in roles that used to be played by Josef Sommer and Donald Moffat) who support the cause.

“Dark Waters” plays like a procedural in the mode of “Silkwood” or “Erin Brockovich.” Haynes and co. keep it simple and honest, with tremendously subtle work from a supporting cast that includes Bill Camp and Mare Winningham. Oscar winner Anne Hathaway starts slow as Mrs. Billot but comes through with (as usual) with stark authenticity.

In a season of gangsters, Hollywood cowboys, papal friendship, and alienated villains, we need “Dark Waters,” a David vs. Goliath tale that affects all of us in real life and once again exposes corporate greed. Billot deserves a medal for what he’s done. Haynes, Ruffalo et al should get their recognition for bringing the story to the screen.

This year’s Oscars? So far it’s been high testosterone. There’s Tarantino, Di Caprio, and Pitt from “Once Upon a Time in Hollywood.” Then you’ve got “The Irishman,” with Scorsese, De Niro, Pacino, Pesci, and pretty much no women. Ditto “Two Popes,” “Dolemite,” “Ford v. Ferrari,” and so on.

Where are all the girls? The glaring lack of women in film this year may be why so many arm chair pundits have tried to float a balloon for Jennifer Lopez in “Hustlers.” This is not an Oscar performance, but for a minute there, JLo had the stage to herself.

But now we’re warming up. Two really great movies with ridiculous review embargoes star and feature lots of terrific ladies who will soon fill up slots in lead and supporting categories.

“Little Women,” directed by Greta Gerwig, is girls girls girls. Saoirse Ronan leads a phenomenal cast including Laura Dern, Florence Pugh, Emma Watson and even Meryl Streep. Ronan is lead, Pugh is in supporting, Gerwig could be a Best Director nominee. The whole gang will be Best Ensemble at SAG. The cast should play “The Irishman” on Family Feud.

“Bombshell” is Jay Roach’s terrific film about the Roger Ailes-Gretchen Carlson scandal at Fox News. Charlize Theron is lead as Megyn Freakin Kelly, Nicole Kidman is supporting as Carlson, and Margot Robbie nearly steals the show as a composite female victim of Ailes’s lechery. This group also works as an exceptional ensemble. And I’d rather see “Hustlers” in ensemble rather than single out one performer.

So the women are here, we just had to wait for them. And let’s not forget Renee Zellweger as “Judy,” Cynthia Erivo leading “Harriet,” and Alfre Woodard searing in “Clemency.”