While the late Johnnie Cochran grabbed fame thanks to his star-studded clientele in the 90s, Florida-based attorney Willie E. Gary made history and a lot of money. Gary won cases against several corporate titans and got his clients some of the largest jury awards and settlements this country’s courts ever saw. His career is nothing short of legendary, yet his exploits have flown under the radar outside some heavy press coverage in the mid-90s and early 2000s.
The Burial presents an opportunity to change that. The Burial follows the real-life story of Mississippi funeral home owner Jerimiah “Jerry” O’Keefe (Tommy Lee Jones) and Gary’s (Jamie Foxx) pursuit for justice against a corporation O’Keefe believes broke a handshake deal they made years prior.
It sounds like almost every other David vs Goliath courtroom drama, so what makes The Burial stand out from other legal underdog stories? Two of the best performers in the business making magic out of monotony.
The Burial’s strength clearly lies in the talents and chemistry of Foxx and Jones. At first glance, this duo is an odd pairing because their styles and previous roles are polar opposites. But once they share a scene? Any thought of their contrasts leading to discord on the screen disappears.
In arguably his best lead performance since Ray, Foxx is at his finest. He plays Gary with a flamboyance that matches the real-life counterpart’s bravado to a tee. For most, this would come across as campy and corny. For Foxx, it’s a spectacle that draws you in and never lets go as he brings every side of Jamie Foxx we’ve seen sans action and music.
Jones is the perfect compliment to Foxx’s theatrics with a far more subdued but still charismatic turn. His signature deadpan delivery with the thick Southern drawl gives The Burial a much-needed gravity to keep it from becoming too melodramatic. That said, it’s not a complete straight-man act because Jones showcases warmth and ease that make Jerry’s connection with Gary believable. The film's best moments lie in the scenes where their bond is developing and apparent.
While Foxx and Jones are the main cogs, please do not mistake The Burial for a two-person show. As the opposing counsel in the case, Mame Downes, Jurnee Smollet has a commanding presence and goes tit for tat when sharing the screen with Foxx. To a lesser extent, Dorrian Missick is a fun watch early in the film as Foxx’s partner in crime during much of The Burial’s comedic scenes. Alan Ruck and Mamoudou Athie also impress in their supporting roles.
Among the supporting cast, Bill Camp is the most memorable. He probably has the least screen time out of all the top-billed stars, but Camp’s portrayal of Raymond Lowen is one of the better villainous depictions on screen this year.
The Burial almost achieves perfection but falters a little behind an identity problem. On one hand, Maggie Betts excels in a dual role as director and writer by crafting a well-paced and well-written story that embraces the obvious racial dynamics. Given The Burial’s Mississippi setting, there’s no way around the disconnect between Black and White, but Betts handles it in a meaningful and authentic way that doesn't fall into the White savior trope.
On the other hand, The Burial struggles between its commentary on race and being a courtroom drama. It misses critical opportunities, such as delving deeper into Gary and Jerry’s bond or showing more of Gary’s courtroom prowess that made him the “Giant Killer.” This faux pas doesn’t doom the film, but it could have pushed it from being a good film into an awards contender.
Ultimately, The Burial is a film that highlights how well two artists from opposite ends of the tracks can come together and make something special, similar to the persons they portrayed. It pretty much reinvents the wheel of the underdog legal drama, but it does just fine having Foxx and Jones use those wheels to go somewhere.