Channing Tatum and Adam Driver are the comedy duo we deserve.

In “Logan Lucky,” they play Southern nitwits turned criminal masterminds who hatch a plan for a detailed heist during a NASCAR race. 

The first “Logan Lucky” trailer previews Steven Soderbergh’s first film since the director said he would retire from filmmaking in 2013. Soderbergh has described the project as an “anti-glam version of an ‘Ocean’s’ movie.”

Riley Keough plays the protagonists’ sister, who joins their scheme with the help of Joe Bang (Daniel Craig), a prison inmate who knows a thing or two about blowing up bank vaults. Also on hand to test out their Southern charm: Hilary Swank, Katherine Waterston, Katie Holmes, Seth MacFarlane, Sebastian Stan and Jim O’Heir.

“Logan Lucky” opens Aug. 18.

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Pearl Jam frontman Eddie Vedder was emotional Saturday during the opening stop on a European solo tour, his first gig since longtime friend and former collaborator Chris Cornell died on May 18.

Vedder made no direct mention of Cornell, the lead vocalist for Soundgarden and Audioslave, during his Amsterdam show in the Netherlands, according to Consequence of Sound, but he altered lyrics and addressed substance abuse, an issue that plagued Cornell prior to his suicide. During the set’s first song, “Long Road,” Vedder amended the words to say, “Without you, something is missing.”

Vedder also performed a cover of Neil Young’s “The Needle and the Damage Done,” a song about heroin addiction.

Later during the gig, when a fan shouted “I love you,” Vedder reportedly responded, “Thank you. I need it ― we all need it. I’m thinking of a lot of people tonight, and some in particular and their families. And I just know that healing takes time, if it ever happens. It takes time, and that means you have to start somewhere. So let it be music. Let it be love and togetherness. And let it be Amsterdam.”

Vedder and Cornell worked together when Cornell was the lead singer of the rock band Temple of the Dog, which united the founding members of Pearl Jam. 

Guns N’ Roses also paid tribute to Cornell on Saturday, during a show in Ireland. The band performed “Black Hole Sun,” Soundgarden’s defining hit. 

Duff McKagan, Guns N’ Roses’ bass guitarist, collaborated with Cornell in the supergroup Mad Season, which also featured members of Alice in Chains and Queens of the Stone Age. 

Guns N’ Roses are among many acts that have covered “Black Hole Sun” in recent days, including Ryan Adams, Ann Wilson and Norah Jones.

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Ending a 56-year gap, Sofia Coppola became the second woman to receive the Best Director award at the Cannes Film Festival as the gala wrapped up on Sunday.

Russian Yuliya Solntseva won for “The Story of the Flaming Years” in 1961. Coppola was honored for “The Beguiled,” a Southern Gothic horror that updates the 1971 Civil War drama starring Clint Eastwood.

“I was thrilled to get this movie made and it’s such an exciting start to be honored in Cannes,” Coppola said in a statement.

Along with praising “my great team and cast,” she thanked Universal Studios and one of its speciality divisions, Focus Features, “for their support of women-driven films.”

Nicole Kidman, a star of “The Beguiled” and three other Cannes selections, received a special prize marking the French festival’s 70th anniversary.

The coveted Palme d’Or, one of filmmaking’s most lauded honors, went to “The Square,” a surprise choice for a festival that typically favors intense dramas. “The Square” is a farce about an art museum staging a radical exhibition that sparks a social crisis. 

Pedro Almódovar, the acclaimed director of “Woman on the Verge of a Nervous Breakdown” and “Talk to Her,” headed this year’s jury, which also included Will Smith, Jessica Chastain, Chinese actress Fan Bingbing, South Korean director Park Chan-wook and Italian director Paolo Sorrentino.

Here’s the full list of winners. Many of the hits at Cannes factor into the race for Oscars.

Palme d’Or: “The Square,” a Swedish art-world satire directed by Ruben Östlund

Grand Prix: “120 Beats Per Minute,” an AIDS drama directed by Robin Campillo

Jury Prize: “Loveless,” a Russian missing-child drama directed by Andrei Zvyagintsev

Best Actress: Diane Kruger, “In the Fade”

Best Actor: Joaquin Phoenix, “You Were Never Really Here”

Best Director: Sofia Coppola, “The Beguiled” 

Best Screenplay: a tie between “You Were Never Really Here” (written by Lynne Ramsay) and “The Killing of a Sacred Deer” (written by Yorgos Lanthimos and Efthymis Filippou)

Camera d’Or, honoring the best debut feature: “Jeune Femme,” directed by Léonor Sérraille 

Best Short Film: “A Gentle Night,” directed by Qiu Yang

70th Anniversary Prize: Nicole Kidman, who starred in four Cannes titles (”The Beguiled,” “The Killing of a Sacred Deer,” “How to Talk to Girls at Parties” and “Top of the Lake: China Girl”)

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Blockbusters are caught in an endless cycle of bigger-is-better clichés. Budgets have swollen so much over the past few decades that moderation is now a foreign concept for Hollywood’s major studios. This phenomenon manifests most obviously in the special-effects arena, but don’t for one second assume it doesn’t also mean first-class snacks.

One “Pirates of the Caribbean” movie alone allotted a whopping estimate of $2 million for craft services, the department that provides meals and goodies for everyone on the set throughout production. Jack Davenport, who played Commodore James Norrington in the first three “Pirates” films, told The Hollywood Reporter in an interview published Sunday that a chef once informed him the food budget was “essentially unlimited.”

“I was like, ‘What does that mean?,” Davenport said. “He was like, ‘I don’t know, $2 million.’ I was like, ‘For snacks?’ And he was like, ‘Yeah?’ That sounds frivolous, but it wasn’t. He obviously had to keep people fed.”

Another “Pirates” alum, Lee Arenberg, who played Pintel, recounted the “legendary speech” a producer delivered at the end of a shoot, in which he said the caterers had prepared 170,000 meals. 

For added context: The entire price tag of this year’s Best Picture winner, “Moonlight,” totaled $1.5 million. 

Of course, $2 million is chump change given the “Pirates” movies’ ballooning budgets. The 2003 original cost Disney $140 million, while its 2006 and 2007 sequels climbed to a mind-boggling $225 million and $300 million, respectively. But contextualized within Hollywood history, $2 million is a wild sum: In the early days, actors and crew members brought their own lunches to work, brown-bag style. Now, studios will drop $2 million on food, but they’ll rarely greenlight the mid-budget original stories that drove the movie industry as recently as the 1990s. 

The newest “Pirates” installment, “Dead Men Tell No Tales,” opened this weekend with a $230 million budget, drawing in at least $62 million in ticket sales. Its predecessor, 2011’s “On Stranger Tides,” was the franchise’s weakest grosser domestically, but it saw the heftiest overseas revenue, exemplifying Hollywood’s reliance on foreign ticket sales. Many sequels, reboots and spin-offs have under-performed among American audiences over the past few years, but their foreign profits make that a non-issue.

The “Pirates” sequels’ scathing reviews aren’t enough to keep them down, though box-office analysts expect “Dead Men” could become the series’ weakest stateside moneymaker to date.

But hey, at least everyone on the set ate well. 

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