Jamie Foxx’s stellar performance in this gripping courtroom drama makes it a must-watch

Story: Based on a true story, this courtroom drama revolves around a personal injury lawyer who aided a funeral home owner in taking on and suing a large funeral home company.

Review: When Jamie Foxx is in his element, his on-screen presence is an absolute delight to behold. The Burial offers Foxx a stage to flaunt his histrionic prowess, and thankfully, the film unequivocally confirms that he seized this opportunity with unwavering determination. The Burial fits snugly into the category of courtroom dramas that harken back to the plethora of legal films that inundated cinemas in the ’90s, a majority of which drew inspiration from the novels of John Grisham. Nevertheless, this film, while embracing its courtroom drama roots, distinguishes itself through the inclusion of an astonishing true story featured in The New Yorker and through the delivery of exceptional performances. The film’s appeal lies in its unadorned simplicity, as it earnestly endeavours to narrate the story in its purest essence. However, it’s not without its stumbling blocks, most notably in the form of character development, which remains lacking for the majority of the cast, with only a few exceptions. That being said, this drama does succeed in captivating its audience, keeping them wholly engrossed within the narrative’s David versus Goliath struggle.

Despite addressing a serious subject, the film maintains a light-hearted tone and offers numerous comedic moments, courtesy of Jamie Foxx’s versatility. Under the capable direction of Maggie Betts, this film emerges as a polished courtroom drama that becomes highly enjoyable and engaging in the second half. “The Burial” remains a crowd-pleaser, as it checks all the boxes of an underdog story. The film’s most significant triumph lies in the fact that despite dealing with the extremely dry subject of burial insurance, the screenplay breathes life into the narrative, giving it wings to soar and shaping the film in a more ‘commercial’ format.

Based on a true story that was featured in The New Yorker and set in the year 1995, the film revolves around Jeremiah O’Keefe (Tommy Lee Jones), a funeral home director. He decides to sell a portion of his business to the Loewen Group, which is on a mission to acquire as many funeral homes and related insurance as possible. When the deal becomes entangled in a contractual dispute, O’Keefe opts to sue the company and seeks the services of the maverick personal injury lawyer, Willie Gary (Jamie Foxx), who hasn’t lost a case in the past 12 years and even owns an airplane with “Wings of Justice” painted on it. However, when it becomes known that the case will be overseen by a black judge, the corporation rapidly changes its game plan by bringing in a black female lawyer. Although Gary initially expresses reluctance in saying ‘yes’ to the case, the significance of the case and its potential impact on his career soon dawns upon him, which eventually leads him to accept the challenge.

Jamie Foxx, in the role of Gray, stands as the heart and soul of the film, towering above every other character. This is a role tailor-made for an actor of Foxx’s caliber, and he does it justice. The moment he steps into the film, you’re reassured that the journey ahead will be smooth. It would come as no surprise if his performance garners Oscar buzz in the coming days. This role is a showcase of his acting prowess, from the moment he enters the courtroom with his team to his intense cross-examination of Roy Loewen in the courtroom. Foxx’s performance fires on all cylinders. Tommy Lee Jones, for a significant part of the film, maintains a subdued presence with limited dialogue, but his chemistry with Foxx is one of the film’s highlights. Jurnee Smollett, portraying Mame Downes, is simply fabulous as the defense lawyer and special mention must be made of Mamodou Athie as Hal, who delivers a fine and natural performance in his role as a young lawyer.

While this film isn’t explicitly about race, it is enveloped in a cloud of racial dynamics. In a highly charged moment in the film, Hal confronts Mike, O’Keefe’s long-time friend and his attorney, about his patronising behaviour and directly instructs him not to address him as ‘son.’ The film contains numerous scenes like this that contribute to its appeal. The Burial is a potent and captivating film that succeeds in leaving a lasting impact.