The new adaptation of All the King's Men is so cynical about American politics that the only character who comes out on top is Tony Soprano, or a bumpkinized version of him called "Tiny." Tiny is the bulldog of Willie Stark, an unelectable candidate put up by his party to "split the cracker vote" and grease the way for the candidate of business. Stark dances to the music at first, but a sarcastic glance from Tiny at a bargain-basement campaign stop causes him to change his politics instantly, and forever. Like a marionette learning to walk without strings, he begins to jut out his elbows, bow his knees and evangelize about how to steal from the fat cats who have cornered the market on stealing for millennia. "Nail em' up" is what he prescribes for anyone who takes more than their fair share of the community pot, and it's that capacity for populist violence that most animates Steven Zaillian's film. At a midnight rally of supporters for the Eraserhead-haired candidate, hot flashbulbs illuminate the faces of the crowd in time with his bromides, like something out of Riefenstahl.