The Burial

For a procedural about a contract dispute among mortuary owners, The Burial is surprisingly full of life.

That’s primarily due to the eccentric characters and enthusiastic performances at the center of this crowd-pleasing legal drama from director Maggie Betts (Novitiate), which is more about the living than the dead.

Based on a true story, it’s an underdog saga about a small businessman fighting back against corporate greed, which yields an easy rooting interest — even more so when the sleazy villain exploits grieving families for profit.

Entrepreneur and civic leader Jeremiah O’Keefe (Tommy Lee Jones) runs a funeral home business that has been in his Mississippi family for generations. However, mounting debt prompts him to negotiate a deal with the billionaire executive (Bill Camp) of a national chain.

Their handshake agreement obviously means more to Jeremiah and his lawyer (Alan Ruck) than to the unscrupulous buyer. “This fella tried to bully me out of business and I don’t think I should be expected to stand for it,” he reasons.

Jeremiah’s ambitious junior counsel (Mamoudou Athie) suggests he visit Willie Gary (Jamie Foxx), a brash Florida preacher and personal-injury attorney who might not know much about contract law, but he’s an expert at working a room and persuading a jury — especially a predominantly Black jury. After all, racial tension is simmering, whether or not anyone wants to admit it.

The odd-couple partnership could be mutually beneficial, if only they can find a way to defeat their deep-pocketed adversaries and a defense attorney (Jurnee Smollett) who tests Willie’s patience and Jeremiah’s resolve.

Although the subject matter might sound like a snoozer, the roots of the case are compelling. The twisty and atmospheric Deep South narrative about combatting injustice feels reminiscent of author John Grisham.

Foxx channels Johnnie Cochran with his propulsive litigatory energy and charming charisma, while Jones conveys a down-home gravitas. Both play to their strengths with textured and nuanced portrayals.

The rapport between Willie and Jeremiah seems genuine, rather than forced, in part because the script by Betts and acclaimed playwright Doug Wright (Quills) — adapted from a New Yorker article by novelist Jonathan Harr — digs beneath the surface cliches and stereotypes.

Although some of the true-life details might be embellished and the film indulges in some expected courtroom theatrics, The Burial resonates most powerfully when it emphasizes subtlety over showmanship.

Rated R, 126 minutes.