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With remakes such as Poseidon, The Pink Panther, and Wicker Man already dotting 2006 1949 political thriller, All the King’s Men? In fact, writer / director Steven Zaillian claims not based on the film before, preferring instead to go back to the original source material. Robert Penn Warren in the victory of the Pulitzer Prize novel All King’s Men is a fictionalized freely because of the rise and fall of Louisiana Governor Huey Long. Regardless of what inspired the screenplay, is a bad fit. All the King’s Men is a patchwork of poor choices and uneven results, the most obvious of which is his pace. What inappropriate flash-forward, and badly in the outbreak, All King’s Men lurches unsteadily forward against the background of variable performances and impressive cinematography.

All the King’s Men follows an increase of prominent of the “governor of the people,” Willie Stark (Sean Penn), who will win the governorship in Louisiana in early 1950 for a landslide victory. His pro-education, the fight against business day earns him some powerful enemies, and accusations of cronyism and corruption are many. Despite beginning his political career as an idealist, Stark became a ruthless politician, using blackmail and other forms of coercion to suppress his enemies. His right hand man was a former journalist Jack burden (Jude Law), which comes from money and is torn between supporting his friend and betraying his roots. Stark most dangerous enemy is Judge Irwin (Anthony Hopkins), who is the godfather Jack and refuses to bend when Stark attacks. In addition, Jack in the mix are former flame, Anna Stanton (Kate Winslet) and her brother, Adam (Mark Ruffalo). Anna proximity to Jack Stark strikes.

I heard that Sean Penn provides greater productivity, as Stanton, but this is a mistake. Heading to the pulpit-shredding essence of Jonathan Edwards, Penn spit fire and sulfur in one of the most laughably over-on-top portrayals of his career. Except I Am Sam, I have never been ashamed of one of the actor’s performances so far. Penn work is so one-dimensional and cartoonish, that there is no hope for Stark is becoming more blustering caricature. Adding to the problem is that Jack is a character in the film, the emotional kernel, is not a person. Jude Law underplays the role, leaving us with a person void. Kate Winslet contribution is negligible. Only Anthony Hopkins becomes unscathed. Several scenes in which he is involved almost exclusively in the All King’s Men, that the ring with any degree of authenticity or urgency.

While the structure and tone of the film are two of the most glaring problems, there is a serious flaw. The relationship between Jack and Ann underdeveloped. As this reliance upon which many subplots rest cavalier manner in which it is presented (in the first instance through a bunch of shots, with the outbreak) is indefensible. It undermines the film too much potential power. In addition to the damage done nattering narrative voice that quickly become annoying, though hardly more than the figure too melodramatic helped James Horner. The only technical aspect is allocated to praise Pawel Edelman is a movie. All the King’s Men always looks great (though I could have done without the black-and-white director “flourish” used in the prosaic scenes).

Part of the major problems with the All King’s Men has the inherent difficulty of adapting such a complex scenario in the novel within a reasonable time. (In the 1949 film suffers from the same problems.) as a good writer, as Zaillian is, the task goes beyond it. There are some very good scenes (the key interface between Jack and Judge Irvin is compelling), but the overall story paradoxically, feels as rushed and overly lengthy. Those familiar with the novel, of course, agree that the reading is more satisfying than watching this film is disappointing. One expects more - much more, actually - with a cast of this calibre.

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