A cast of aces, a playful turn by Jamie Foxx, Bill Camp‘s volcanic villainy and the mere presence of Tommy Lee Jones make “The Burial” a courtroom drama well worth your time.

A true-ish account of a battle with everybody’s favorite bad guys — the funeral industry — features Foxx vamping as a theatrical attorney who plays juries like a fiddle and Jurnee Smollett (“Spiderhead,” TV’s “Lovecraft Country”) as his just as Black, just as quick to play the race card foe in a Mississippi contract case that is all about “greed” and predatory business practices in an industry infamous for them.

Foxx is Willie Gary, wildly successful personal injury attorney from that Personal Injury Lawyer Mecca, Florida, a hustler with his eyes on the cash-money prize and an Evangelist’s way with juries — especially juries with lots of Black members.

Jones plays Jeremiah O’Keefe, a Mississippi funeral home and burial insurance business operator in trouble with state regulators (In Mississippi?) for having tried his hand at investments that left him undercapitalized to honor the policies on his books.

He needs to sell part of the business to a Canadian funeral home and burial insurance empire callously run by a bottom-line-boosting tycoon named Ray Loewen (Bill Camp). O’Keefe’s longtime lawyer (Alan Ruck) handles the negotiations, right up to the point where it’s obvious the Canadian will never sign the contract, as he’ll be able to wait out the elderly O’Keefe into bankruptcy and/or death.

A young second-chair attorney (Mamoudou Athie) suggests they sue, and hire this charismatic fellow from Florida to fight the case. Because the suit will be filed in a mostly-Black county in Mississippi, probably tried by a Black judge. And self-made Willie Gary — given to referring to himself in the third person — relates to being Black and coming up hard and poor,a and Black jurors relate to him.

All this is over the objections of O’Keefe’s “let’s settle” lead attorney and O’Keefe’s wife’s (the great character actress Pamela Reed) protest that “old men don’t file lawsuits.”

It’s the OJ/Johnnie Cochrine ’90s, and Gary is “introduced” to his new client via a “Lifestyles of the Rich & Famous” tape. Gary, in all his splendor, humors young Hal Dockins’ (Athie) pitch, as it’s not his area of specialty, and plainly small potatoes.

But there’s Big Money in Death, as we’ve heard Camp’s Loewen chuckling to O’Keefe about the impending demise of 30 million Baby Boomers. This guy’s a bad actor in an industry infamous for them. And he’s worth billions.

Foxx and Smollett have a meet-cute scene pre-trial, each character none-too-subtly suggesting that she or he is more Black and more “street.”

Foxx and Jones play off each other in grand style, the gruff, blunt and unemotional old legend reacting to the charismatic, brash and peacocking younger legend. Foxx makes Willie’s every cocky line crackle with fun.

“You see me fighting a bear? Poor honey on it!”

I got a big kick out of Dorian Missick’s performance as one of Willie’s partners, his second snarky voice in an argument, a hip hop hype man for the boss.

The screenplay by Doug Wright and director Maggie Betts has an “everything in America is about race” subtext, because it is. Even trying a case between two white men in Black Mississippi has that as a flashpoint — lots of flashpoints.

Betts, who did “Novitiate” and further back, “The Carrier,” keeps this all on the “feel good” end of the spectrum and lets Foxx do his thing and everybody else take a shot at stealing this picture from him, and good luck with that.

Yes, it’s fictionalized and yes, it’s got lawyers on one side and funeral tycoons on the other so it’s not easy to root for either.

But “The Burial” makes an entertaining story about standing up to legal mistreatment, sticking up for the Little Man and punching up at predators who never seem to run out of ways to misuse and overcharge the grieving at their most vulnerable.

Rating: R for profanity

Cast: Jamie Foxx, Tommy Lee Jones, Jurnee Smollett, Mamoudou Athie, Pamela Reed, Amanda Warren, Alan Ruck, Dorian Missick and Bill Camp.

Credits: Directed by Maggie Betts, scripted by Doug Wright and Maggie Betters, based on an article by Jonathan Harr. An MGM/Amazon release.

Running time: 2:07