Phil Lord and Christopher Miller have made significant marks across various roles in the entertainment industry. They have executive produced popular TV shows such as “Brooklyn Nine-Nine” and “Son of Zorn,” while also venturing into production with films like “Cocaine Bear” and “Brigsby Bear.” Yet, their most renowned contributions come as film directors, a journey that, over 17 years, has yielded five notable films. Their directorial count would have been higher had they not been removed mid-production from “Solo: A Star Wars Story.”

Though their directorial portfolio may not be as extensive as auteurs like Takashi Miike or Wes Anderson, Lord and Miller have established themselves as a formidable duo in filmmaking, celebrated for turning seemingly improbable concepts into cinematic triumphs. They have demonstrated remarkable versatility, creating everything from family-friendly PG films to R-rated comedies and grand space adventures, all while maintaining a high standard of quality.

Their five directorial projects, including the latest blockbuster “Project Hail Mary,” reveal the audacity and flair that have made them favorites among audiences. Lord and Miller excel in crafting films that evoke laughter and enthusiasm without compromising on artistic integrity. It’s little surprise they are sought-after collaborators across various sectors in Hollywood, given the charm and creativity they bring to the table, as seen in the endearing alien character Rocky from “Project Hail Mary.”

Phil Lord and Chris Miller transitioned from TV writers, known for creating the MTV series “Clone High,” to feature film directors with their debut “Cloudy With a Chance of Meatballs.” This film, a loosely adapted version of the beloved children’s book, may not exhibit the distinctly unique visuals seen in some of their other animated works. The character designs fit the familiar mold of 2000s CGI styles, while its settings are straightforward rather than exaggerated or artistic.

• Cast: Bill Hader, Anna Faris, James Caan
• Rating: PG
• Runtime: 90 minutes
• Where to Watch: Amazon Prime

After working as TV writers and creating the MTV program “Clone High,” Phil Lord and Chris Miller graduated to feature film directors with “Cloudy With a Chance of Meatballs.” A very loose adaptation of the children’s book of the same name, “Meatballs” doesn’t have the same completely idiosyncratic visual impulses as other Lord and Miller animated titles. Its big-eyed characters are very much in the mold of other 2000s CGI characters, while its backgrounds are less impressionistic or heightened and more straightforward.

However, comedically, this title’s got all the zaniness audiences would come to expect from a Lord and Miller project. A plot hinging on food raining down from the sky can’t afford to play things grimly, and “Meatballs” leans into this reality with a ludicrous vision of a disaster movie. Especially amusing are the visual gags, like the physicality of lead character Flint Lockwood (Bill Hader) when he first learns to throw snowballs.

“Cloudy With a Chance of Meatballs” even lands some touching pathos rooted in a fractured father-son dynamic. Though not as visually or narratively audacious as their later works, Lord and Miller made a profound splash with this directorial debut, and their main filmmaking courses were yet to arrive.

• Cast: Channing Tatum, Jonah Hill, Brie Larson
• Rating: R
• Runtime: 109 minutes
• Where to Watch: Amazon Prime, Paramount+

The jury’s still out on whether “23 Jump Street” will ever happen. However, what’s clear is that the original “21 Jump Street” film from 2012 is a hoot. That’s still such a surprising outcome since movie comedies adapted from old TV shows are often outright terrible. These projects typically amount to famous actors doing cosplay of recognizable small-screen characters, like in “Starsky & Hutch” or “The Dukes of Hazzard.”  

Thankfully, screenwriter Michael Bacall and directors Lord and Miller wisely embraced a whole new cast of characters, led by Morton Schmidt (Jonah Hill) and Greg Jenko (Channing Tatum), that could give this project its own vibe rather than coasting on nostalgia. Granted, not every joke or plot beat here is especially creative. Certainly the prom night car chase suffers from some lighting and camerawork problems. However, the gags that do click in “21 Jump Street” are legendarily hysterical. Jenko and Schmidt formulating a rationale for the former character punching a teen who turns out to be gay, for instance, is inspired.

Tatum and Hill also have tremendously good chemistry, an essential trait for any buddy cop movie. Plus, Lord and Miller, in their live-action film directing debut, had an adept hand at creatively executing visual jokes and getting strong performances out of actors. Who knew those accomplishments could hail from a movie that, conceptually, sounded so dismal?

• Cast: Channing Tatum, Jonah Hill, Ice Cube
• Rating: R
• Runtime: 112 minutes
• Where to Watch: Paramount+, Pluto TV

With “21 Jump Street,” Lord and Miller had conquered the world of comedies based on older TV shows. Returning to this world for 2014’s “22 Jump Street” required another leap of creative chutzpah: Could they make a good comedy sequel? While there are some comedy sequels out there that are better than the original movie, most of these titles are half-hearted retreads like “Horrible Bosses 2” or “Weekend at Bernie’s II.” Often, it’s just impossible to make what was once funny hysterical again, especially when the element of surprise is deflated.

“22 Jump Street” can’t entirely outrun familiarity, but it’s so much fun that it’s hard to care. Tatum and Hill are once again a joy to watch bounce off each other. Meanwhile, the college setting gives them both plenty of fun, fresh archetypes and environments (like a slam poetry session) to interact with. Ice Cube also gets more screentime in this installment, which produced some of “22 Jump Street’s” funniest moments, particularly a set piece involving an incredibly awkward brunch.

This production’s already a riot even before the inspired end credits sequence, which races through a barrage of potential “Jump Street” sequels. One of the best end-credit scenes in movies ever, it concludes the proceedings with a burst of imaginative meta-mayhem. More comedy movie sequels should take cues from “22 Jump Street’s” wit.

• Cast: Ryan Gosling, Sandra Hüller, James Ortiz
• Rating: PG-13
• Runtime: 156 minutes
• Where to Watch: In theaters

After 12 years away from directing movies, Lord and Miller’s grand return to the big screen is “Project Hail Mary,” an adaptation of an Andy Weir novel of the same name. Impressively, this project maintains the craftsmanship of their prior works, but allows them to explore new areas of excellent artistry. For instance, none of their prior directorial efforts so heavily involved a puppet character like alien Rocky (James Ortiz), nor did their earlier forays use shifting aspect ratios so cleverly.

Even Daniel Pemberton’s score is a departure from the orchestral music found in earlier Lord and Miller works. In many ways, “Project Hail Mary” feels like a Charizard to “Cloudy with a Chance of Meatball’s” Charmander; it’s a powerful evolution of something that was already endearing. Even with a grander scope at their disposal, Lord and Miller don’t forget that compelling characters are what drove people to love their works in the first place.

Thus, the friendship between human scientist Ryland Grace (Ryan Gosling) and Rocky absolutely crackles. It’s impossible not to get swept up in their bond. Grace’s own self-doubts and flawed underdog demeanor are also handled intimately and potently. No wonder “Project Hail Mary” blew everyone away at the box office — it’s just tremendously well-made entertainment on every level.

• Cast: Chris Pratt, Elizabeth Banks, Will Arnett
• Rating: PG
• Runtime: 100 minutes
• Where to Watch: Netflix

It’s still insane that “The Lego Movie” exists. While the concept of a movie dedicated to this toy brand isn’t out of the question, a Lego movie that’s as thoughtful and tenderly realized as this 2014 feature is nothing short of a miracle. Part of what makes “The Lego Movie” such a classic is that it’s a genuinely hilarious comedy. The whip-fast world of a child’s imagination keeps the witty lines and silly visuals coming at breakneck speed. There’s no shortage of immensely clever dialogue, like a comment about carrier pigeons getting the hero’s message out by going to an internet cafe to spread the word.

The small details in “The Lego Movie” speak to how rich every scene is on an animation level. This is an exuberant world so absorbingly fun that it’s impossible to resist. Lord and Miller, though, deftly steer the proceedings into moving territory in the third act, when “The Lego Movie” reveals it’s actually an ode to creativity and building something new. What could’ve been hollow shilling for toys is instead much more moving and thoughtful. “The Lego Movie” nails the poignancy, while also perfectly capturing that feeling of being a child tapping into the limitless power of imagination. What a boon for cinema that something called “The Lego Movie” turned out to be this incredible.