Opening in limited release this weekend, the goofily titled Gunnin' for That #1 Spot is a compelling documentary look at the annual Rucker Park basketball tournament, made up of the majority of New York's best streetball players.  It may not be the biggest money game in the history of professional hoops, and it hasn't produced many NBA superstars, but its distillation of pure street ball has been hugely influential, and the style of play in both the pro and college ranks has been greatly affected by the smooth moves and trash-talking traditions that evolved in Rucker Park.  Gunnin' for that #1 Spot is also attracting a great deal of attention because of who's behind it:  Oscilloscope Pictures is a new production house headed by the film's director, Adam Yauch, better known as MCA of the Beastie Boys.  Having polished his craft directing videos for his crew, he's now taking his game to the next level, and has made sure that the banging soundtrack matches the smooth hoops action on screen.  The movie's release, in seven cities (all of which have NBA franchises), is being timed to coincide with the NBA draft; if all that isn't enough for your hoops-hungry self, try these five examples of big-screen action from the world's most cinematic sport.

HOOSIERS (1986)

Generally acknowledged as the greatest basketball film of all time, Hoosiers -- directed by the forgotten David Anspaugh and written by sports-triumph specialist Angelo Pizzo -- is based on the true story of the Milan Indians, an unlikely small-town outfit who went on to win the 1954 Indiana State Championships against some of the powerhouse teams in that basketball-crazy state.  Unabashedly sentimental and unrepentently traditional, Hoosiers is nonetheless is a winner, illustrating that you can avoid criticism for making a straightforward sports film by simply getting it right at every turn.  From the terrific period details and the astonishing degree of verisimilitude to the terrifically staged sports action scenes, Hoosiers never makes a wrong turn, and is held together from the first frame to the last by a tremendous performance by Gene Hackman as the gruff coach, Norman Dale.

HOOP DREAMS (1994)

Even if it hadn't turned into one of the most successful documentaries of the modern era, Hoop Dreams -- the story of two struggling African-American teens with visions of making it to the National Basketball Association in their heads -- would have been noteworthy just on its own merits.  It's an assured, moving piece of filmmaking, an exemplary specimen of what its director likes to term the "longitudinal documentary", a film which follows its subjects over a long period of time with no fixed idea of what the outcome will be or what story specifically they're eventually going to tell.  But beyond that, it's also important for what it accomplished:  it helped usher in a golden age of documentary filmmaking; it launched director Steve James' productive career, and it almost single-handedly kick-started a national conversation of the perils of young black men investing all their dreams of success in the idea of playing in the NBA.

REBOUND:  THE LEGEND OF EARL "THE GOAT" MANIGAULT (1996)

Originally made for HBO, Rebound:  The Legend of Earl "The Goat" Manigault proved so popular that it was almost immediately released to home video.  It tells the story of Earl Manigault, an original superstar of the Rucker Park scene (and student of Holcombe Rucker himself) who many say is the greatest street basketball player of all time.  He's also one of the great basketball tragedies of all time, as his natural talent, determination, and constant self-improvement never led to a professional career thanks to years of drug addiction.  Rebound is hindered by its below-average action sequences (especially unforgivable when placed in the context of the pure poetry of street ball), but it's bouyed to the rim by surprisingly competent di rection from  actor Eriq LaSalle, and a handful of powerhouse performances from the cast, including a fiery Don Cheadler in the lead role, terrific supporting turns by James Earl Jones, Forest Whitaker, Glenn Turman and Ronny Cox.

HE GOT GAME (1998)

Spike Lee has always been obsessed with basketball since his directorial debut, and has even managed to noisily insert himself -- to the joy of everyone except fans of his beloved New York Knicks -- in actual NBA games.  Curious, then, that his first movie totally devoted to basketball would receive such a cool reception.  In fact, He Got Game is one of his finest and most underrated movies, and in some ways, it serves as a dramatic adaptation of the issues and emotions that ran through Hoop Dreams.  If real-life NBA star Ray Allen is less than convincing in his first acting role, a smoldering, exceptionally intense Denzel Washington more than makes up for it in his role as the father of a widely feted college basketball star who looks to use his son's imminent fame as a big-time hoops player to secure his own legal and financial security.  It's also noteworthy for the stylish action sequences, assured direction, and a minor comeback by Public Enemy, who put together the must-have soundtrack.

QUANTUM HOOPS (2007)

Any successful athlete will tell you that accomplishment is a matter of perspective.  For someone at the top of his game, the goal is constant self-improvement, to go from good to great; for someone in the middle of the pack, the goal is to win that elusive championship; and for someone at the very bottom, even one victory can be enough.  Such is the case with the hapless Cal Tech basketball team.  Despite the school's reputation as producing some of the greatest scientists, computer programmers, and academics of our age, its athletic program is substantially less respectable; when Rick Greenwald filmed this alternately hilarious and moving documentary about the team, they were on a losing streak that had lasted over twenty years without a single win and seen the team lose by an average of 60 points per game as recently as 2004.  In the 2006 season, however, Greenwald found a team of earnest but realistic players -- many of whom are likely to win Nobel Prizes in their respective fields someday -- who were thrilled at the prospect not of winning an NCAA title, but of maybe, possibly, walking off the court one time as the winners of a single game.  A wonderful inversion of the typical sports-team film.