At least that's how director Richard Linklater tells it in "the true story of the most successful bank robbers in the history of the United States." While the accuracy of the story is debatable, there's no denying that Linklater has crafted an amiable, extremely smooth film and a great showcase for his cast of hot young actors. Matthew McConaughey, Ethan Hawke, Skeet Ulrich and Vincent D'Onofrio play the Newtons, with able assists from Dwight Yoakum as their explosives expert and Chloe Webb and "ER's" Julianna Margulies as the resident love interests. Although D'Onofrio, last seen as the dim-witted farmer-turned-alien villain of "Men In Black," is wasted here, McConaughey, Hawke and, to a lesser extent, Ulrich are given a welcome chance to strut their stuff.

Following wince-inducing turns in "Contact" and "Amistad," Matthew McConaughey returns to form here, using his natural drawl in a relaxed, disarming performance as Willis, the leader of the boys. With an easygoing manner and a twinkle in his eyes, Willis is a born salesman. It's easy to understand why the brothers go along with his poorly thought out schemes and accept his strained rationalizations.

Ethan Hawke, who wanders through most of his films appearing dazed, painfully earnest and a bit constipated, is a delight here as Jess, the wildest of the Newton boys. As a struggling farmer, Jess was just another lost Texas kid, but as a robber he comes into his own, virtually intoxicated playing out his new-found role as a larger-than-life folk hero. Hawke's best moments come in a courtroom scene where Jess charms the pants off of everyone in the room, grinning broadly while tossing fanciful one-liners to the judge, spectators and reporters.

As Joe, the youngest of the brothers, Skeet Ulrich initially operates as the conscience of the group, skeptical of Willis' claims that bank robbery is justifiable because the boys are just little Robin Hoods, taking money from the real thieves, those companies insuring the banks. Joe eventually falls in line, but remains the grimmest of the boys, portrayed with appropriate intensity by Ulrich, who looks for all the world like a low-rent, heroin-chic version of Johnny Depp.

Films in this genre rarely give women much to do and "The Newton Boys" is no exception, although Margulies and Webb make the most of their small roles. In addition to being a fine actor, Julianna Margulies has a classically-beautiful face that was made for the movies. Sooner or later, she'll find the right vehicle for her talents and make the jump from TV to film stardom in a big way.

Director Linklater, whose previous films ("Slacker," "Before Sunrise," "subUrbia") focused on youthful angst, does good work in this pleasant change of pace, maintaining a breezy, playful tone and a strong sense of period authenticity. As the boys make their way across the country, Linklater paints a crisp portrait of the small, isolated towns in pre- Depression America. A swing into Canada provides a appreciated twist on typical genre locales, with a nice look at Toronto in the '20s. Adding to the atmosphere is a terrific soundtrack, featuring wonderful tunes from the period reworked by the Austin bluegrass trio "Bad Livers," with guest vocals from Patty Griffin, Abra Moore and others.

Be sure to stay for the movie's closing credits, which features actual interview clips from two of the Newton boys as old men. The real Willis appears in a 1975 documentary, while Joe turns up on an episode of "The Tonight Show" with Johnny Carson. Hearing the real characters discuss the very incidents depicted in the film adds a pleasant sense of closure to the piece.

Particularly in its early scenes, "The Newton Boys" is structurally reminiscent of "Butch Cassidy and the Sundance Kid." While the film certainly isn't in the same league as "Butch," it does satisfy in its own low-key fashion. Linklater has created a lively, charming slice of Americana which delivers an abundance of minor pleasures. Streamlined and fast-paced, "The Newton Boys" is the most cheerful film to hit the screens in quite a while and, after three months of post-holiday cinematic dreck, one of the most welcome.