And so, here it is. Angelina Jolie’s attempt to write and direct a film for herself and husband Brad Pitt finally debuted officially last night in Hollywood. It’s a turkey for Thanksgiving, apparently.

“By the Sea” has already received devastating reviews from Variety, The Hollywood Reporter, and The Wrap. More are on the way.

Variety: “Likely to meet with some audience curiosity upon its initial rollout Nov. 13, though not enough to sustain a strong commercial showing…Over the course of the film’s leisurely two-hour running time, it’s possible to be moved in fits and starts by stray scenes from this marriage — particularly when Roland tenderly cradles a sobbing Vanessa in the shower — but in an almost entirely abstract, depersonalized way…”

Todd McCarthy: “This languid piece of would-be art cinema will prove once again that even the biggest names in the world won’t draw an audience to something that, in and of itself, has no reason for being.”

This sounds like a cross between the two worst recent movies ever made (at least my picks), the utterly stifling “Gerry” by Gus van Sant and Ben Affleck and Jennifer Lopez in “Gigli.”

The really crazy part of this is that Pitt and Jolie, who abhor publicity, have given a bunch of interviews about their personal lives in order to lure audiences to a film no one will see. It was a waste of soul baring. If only they had advisers who could have counseled them.

Meantime Universal, knowing how bad this all is, managed to screen the movie twice in New York this week but keep it away from commenters. The studio can afford to absorb this since they’ve had a record box office year already from several hits including “Jurassic World.” More power to them in forging relationships with the high wattage couple for future, more lucrative projects.

And Angelina? She’s a good director, and she’ll be back. This too shall be forgotten.

“Spectre” is already a financial hit. But critically, it’s not faring too well. With a 61 on Rotten Tomatoes, the new James Bond thriller is ranked lowest of all films opening this week.

Granted, it’s a tough week. Oscar buzzed films like Spotlight, Trumbo, and Brooklyn have all gotten high numbers. “Spotlight” is right now maybe the lead film in the Oscar race. The other two have strong followings.

Plus a number of very good documentaries open on Friday including “Peggy Guggenheim: Art Addict.” There’s also the “Peanuts Movie,” with an 84.

“Spectre” has divided everyone. It doesn’t help that Daniel Craig has been critical of the series, has spoken out about the rigors of making the film. He also didn’t do any premieres in New York or Los Angeles, just a couple in Europe.

But “Spectre” should do $75 million over the weekend– quite respectable. “Skyfall,” it’s not, but that was a fluke, and this may be a “sophomore” slump.

Dame Helen Mirren moves through Jay Roach’s “Trumbo” as gossip columnist Hedda Hopper like a viper dancing to cool jazz music. She’s completely evil and delicious and you love her. At the star studded after party for “Trumbo” last night at Villagio on Central Park South, the subject of British phone hacking came up in regard to privacy and gossip. Was Dame Helen hacked? “Me?” she cried. “I wish! I’m not big enough for them!” she laughed.

Mirren was joined at the premiere by her director husband Taylor Hackford (who’s about to start shooting “The Comedian” with Robert DeNiro and Jennifer Aniston), as well as “Trumbo” stars Bryan Cranston, Diane Lane, Louis CK, and Michael Stuhlbarg, plus the amazing Tony Bennett, Dana Delany (shimming in silver), Julie Taymor, actress singer Ilene Kristen, director Richard La Gravenese, Steve Kroft and Jenny Conant, Broadway’s Nikki L. James, Alex Gibney, famed author Victor Navasky (“Naming Names”), philanthropist Jean Shafiroff, and our old pal Kathie Berlin.

Diane Lane brought her beautiful 22 year old daughter Eleanor Lambert (father is Christopher Lambert aka Greystoke), who was star struck meeting Cranston. Does she want to be an actor, I asked the stunning Lane? “No, I think she wants to be a journalist,” Diane said. (“I’ll talk her out of that,” I responded.)

Cranston– exceptional as the crusading Trumbo– is so full of projects he can barely see straight. The former Dr. Tim Watley from “Seinfeld” has his “All the Way” LBJ movie at HBO with “Trumbo” director Jay Roach, a new series on Amazon, a movie he’s just made directed by James Franco, another he’s making co-starring Franco, and Wes Anderson’s new animated film.

Trumbo spent a lot of time in the bathtub writing scripts, which Cranston has replicated with director Jay Roach’s help. Was it cold? Was their shrinkage?

“What? No, haha,” Cranston said. “They kept filling the tub with warm water. It went on for hours and hours.”

Dalton Trumbo, if you don’t know, was the Oscar winning screenwriter of “Roman Holiday,” “The Brave Ones,” “Spartacus,” and dozens of other films– dozens and dozens, he was very prolific. But in the early 1950s he was blacklisted by the House Unamerican Activities Committee because he was a Communist.

For a decade he couldn’t use his own name on scripts, and neither could many other screenwriters. So Trumbo organized a group that wrote under pseudonyms while the famous Red Scare and witch hunt of the 50s dragged on, and destroyed lives. Trumbo is also known as the author of the searing 1938 anti-war novel, “Johnny Got His Gun,” which was required reading in the late 60s and early 70s when young people read books other than “Twilight.” (The 1971 movie is worth watching on amazon.)

The Blacklist affected thousands who aren’t portrayed in the film including later Oscar winner Lee Grant, Tony winner Zero Mostel, and lots of actors and crew on TV and in theater whose faces you might know better than their names. Lives were destroyed.  Among those depicted in the film are the famed actor Edward G. Robinson, who named names but still suffered. Michael Stuhlbarg does a beautiful job portraying Robinson’s agony and decline. “Trumbo” also has beautiful work from John Goodman, Elle Fanning, Alan Tudyk, John Getz, Roger Bart, David James Elliott, Richard Portnow, Stephen Root, and Dean O’Gorman as a spot-on Kirk Douglas.