Steven Zaillian's new version of Robert Penn Warren's 1946 Pulitzer Prize-winning morality tale still strikes a chord.

All The King's Men paints an intimate portrait of an idealist, whose hunger for lasting change is corrupted by power and celebrity.

Zaillian is ultimately corrupted too - by his dual credits as screenwriter and director - pandering to his actors and allowing the storyline to drag on well past two hours.

To call All The King's Men a drama would be somewhat misleading since the film masters the noble art of cramming as little action into as much screen time as possible.

Pacing is pedestrian, almost grinding to a standstill in places, and the stellar cast responds with lifeless performances, relying on Penn's usual verbal fireworks to spark the opening hour.

He plays aspiring politician Willie Stark, who rails against corruption in government in Louisiana, hoping to be elected as an honest man for the people.

"I'm gonna keep my faith in the people," says Willie, painfully naive of the workings of the world around him, "because time brings all things to light."

Willie's impassioned speeches, distinguished by the catchphrase "Nail 'em up!", rouse the electorate.

"If you don't vote, you don't matter," he cries and the electorate responds in droves, sweeping the newcomer into power.

Assuming his place in the public spotlight, Willie succumbs to the corrupting allure of political office.

Campaign manager Sadie Burke (Clarkson) and idealistic reporter Jack Burden (Law), who have followed Willie's career from the beginning, become silent witnesses to the politician's spectacular rise and fall.

When Judge Samuel Irwin (Hopkins) calls for Willie's impeachment, the politician enlists the help of Jack, the judge's godson, to unearth skeletons from the past which can be used as blackmail material.

Jack reluctantly agrees, thereby facing his own personal demons, including a fraught reunion with his childhood sweetheart, governor's daughter Anne Stanton (Winslet), and her brother Adam (Ruffalo).

Warren's novel is full of rich, impassioned language and Zaillian's screenplay retains a lot of the key speeches like when Jack professes: "You only got a couple of moments that change your life - sometimes only one - and then it's gone."

Unfortunately, for all its slick dialogue, All The King's Men is relentlessly dull and uninvolving, intercutting flashbacks of Jack's golden-hued youth with Willie's inexorable rise to power.

Penn is the only cast member willing to put in the effort. Law drifts aimlessly through each frame, while Ruffalo and Clarkson go through the motions.

Technical credits are excellent but at cinema's ballot box - the box office - audiences may well vote with their feet and stay at home.