The Burial Review by Marc Primo

Amidst the multitude of films each year, it's easy to overlook the pure and satisfying pleasure found in simple comfort food. "The Burial," directed by Maggie Betts, is a nostalgic courtroom drama with a comedic twist set in the '90s. It offers a refreshing and delightful experience, reminiscent of a gentle summer breeze in the South. The story follows flashy personal injury lawyer Willie E. Gary (portrayed by Jamie Foxx) as he defends the mild-mannered Jeremiah O'Keefe (played by Tommy Lee Jones) against a powerful multi-billion dollar corporation in Mississippi.

"The Burial" offers a captivating blend of flawed characters, a peculiarly framed rivalry, and an unexpected conclusion. Betts' tale of unlikely companions-turned-friends follows Jeremiah, a financially struggling owner of funeral homes, and his attorney, Mike Allred, as they journey to Vancouver, BC to sell three funeral homes. However, when the deal stalls, Hal, a young lawyer and family friend, suspects foul play. He convinces Jeremiah to take legal action in the predominantly Black Hinds County, introducing Willie E. Gary to the scene.

Most mixed-race “We Must Overcome” films like “Green Book,” “The Help,” and “The Blind Side” falter by trying to fix the long span of racial inequities within the space of a trite feel-good story, in which only the white character truly feels redeemed and recompensed by credits end. But “The Burial” doesn’t believe it can solve microaggressions, inequality, and racism in its 126-minute runtime. It’s also not affixed to healing Jeremiah of some guilty conscience. Rather, Foxx as Willie is the actual lead in one of his best, most vibrant, and funny performances in recent memory (though “They Cloned Tyrone” is a 2023 highlight for him, too).

Willie is the only character striving for success and a good income. Jeremiah, on the other hand, is mainly functional, with his business and large family being the only aspects we learn about. We don't even get a glimpse of his children. The same can be said about Willie's wife, Gloria, and Jeremiah's lawyers, Hal and Mike. Another example is Mame Downes, a distinguished attorney hired by Loewen when he realizes the need for Black attorneys in a Black county. Mame and Willie become friendly rivals, leading to intense courtroom strategies and remarkable performances by Smollett as her character represents a morally corrupt white man.

"The Burial" is not explicitly focused on race but is undeniably influenced by it. Set against the backdrop of the O.J. Simpson trial, the film explores racial dynamics through the protagonist Willie's dreams of confronting Johnnie Cochran. It also highlights the South's troubling racial history as Hal, portrayed by the poised Mamoudou, faces microaggressions. The National Baptist Convention plays a pivotal role, adding more emotion, frustration, and yearning to the story.

"The Burial" also celebrates culturally specific Black humor. Willie, a naturally hilarious character, is portrayed as flashy, out of his depth, and self-deprecating. Foxx flawlessly embodies these aspects without reducing Willie to a caricature. He also delights in Willie's rhythmic speech, adding layers of meaning, culminating in a remarkable showdown between Foxx and Camp in the film's climax. The screenplay by Doug Wright and Betts, with finely tuned comedy and the exquisite costumes designed by Mirren Gordon-Crozier further enhance the visual humor. Whether it's Willie and his wife's appearance on "Lifestyles of the Rich and Famous" in velvet leisurewear or the stunning array of extravagant suits worn by Willie, every detail adds to the comedic effect.

Jamie Foxx's performance in this classic David vs. Goliath film is truly captivating. Despite predictable courtroom scenes, Foxx infuses the film with tension, levity, and sophistication. "The Burial" transcends its generic premise, becoming a remarkable and enduring comedy. Its charm and depth make it a film that begs to be watched again.