ʻHitmanʼs Bodyguardʼ is No. 1, as ʻLogan Luckyʼ Disappoints

LOS ANGELES — Maybe there is a method to studio madness?

Steven Soderbergh has long believed that the big movie studios overspend on marketing and rely too heavily on focus-group testing of trailers and other advertising materials. And he set out to prove it with "Logan Lucky," which arrived in wide theatrical release Friday. Through an unusual arrangement, Soderbergh had complete creative control over the film's marketing campaign, which cost roughly $20 million — or half of what a studio would typically spend.

The results were not promising: "Logan Lucky," a heist comedy directed by Soderbergh, arrived to about $8.1 million in ticket sales, a weak showing for a well-reviewed film starring the likes of Channing Tatum and released in 3,031 theaters in North America.

In an email on Sunday morning, Soderbergh called the turnout "certainly frustrating," but he vowed to try again with his next film.

Soderbergh's film arrived in third place. The No. 1 movie over the weekend was "The Hitman's Bodyguard" (Lionsgate), which collected a stout $21.6 million from 3,377 theaters, according to com Score. Starring Ryan Reynolds and Samuel L. Jackson, "The Hitman's Bodyguard," which is about exactly what the title says, received mixed-to-negative reviews. It was independently produced for about $30 million.

Second place went to "Annabelle: Creation" (Warner Bros.), which took in about $15.5 million, for a two-week domestic total of $64 million.

"Logan Lucky," which Soderbergh released through Bleecker Street Media, cost about $29 million to make and was financed by preselling foreign distribution rights.

In other box office news, "Girls Trip" (Universal) crossed into certified blockbuster territory, taking in $3.8 million for a five-week total of about $104 million -- by far the best result for a live-action comedy this year. ("Baywatch," with $58.1 million in domestic ticket sales, ranks second.) Now the question is whether the R-rated film, about the adventures of four women at the Essence Festival in New Orleans, can perform in a similar way overseas, where comedies often get lost in translation.