Sure, you've got Hoosiers, Hoop Dreams and (my personal favorite) White Man Can't Jump, but can you name the top 20 basketball flicks of all time? Not sure I can get past eight -- so major props go out to the folks at Moviefone for coming up with a list of the 20 best basketball films of all time, in honor of March Madness. Ah, the madness of it all; the teams, the brackets, the Cinderella stories. Where would we be in life without the Final Four?

Unfortunately, Air Bud and Eddie didn't make their list, but among the top 20 we have films like The Air Up There (oh, Kevin Bacon can do more than just dance), The Basketball Diaries (drugs and b-ball don't mix so well), He Got Game (he got Denzel, Jordan and Shaq), Space Jam (because we always desperately wanted Bugs Bunny and Michael Jordan to pair up on the big screen) and the recent Semi-Pro (Will Ferrell's 85th sports-related film). Of course there's a whole lot more -- including films I bet you've never heard of -- so make sure to dribble on over to Moviefone and vote for your favorites. Alternatively, feel free to enter your own write-in vote ... in case, ya know, Air Bud just happens to hit you in a personal place.

I don't know what is worse, that Steve James (Hoop Dreams) hasn't already been a member of the Academy all this time, or that Simon West (Con Air) is now allowed to take part in the Oscar voting process. Both directors are part of the list of 115 individuals who have just been invited to the Academy of Motion Picture Arts and Sciences. Unlike last year's list, which seemed to be gearing for younger influences (like Dakota Fanning), this year's is pretty normal, and consists of a lot of people nominated for awards back in February. These include actor Ryan Gosling (Half Nelson), supporting actress Adriana Barraza (Babel), supporting actress Jennifer Hudson (winner, Dreamgirls), suporting actor Jackie Earle Haley (Little Children), supporting actor Eddie Murphy (Dreamgirls), director Paul Greengrass (United 93), foreign film writer-director Florian Henckel von Donnersmarck (winner, The Lives of Others), screenwriter William Monahan (winner, The Departed), screenwriter Michael Arndt (Little Miss Sunshine), foreign film producer Agustín Almodóvar (Volver), composer Javier Navarrete (Pan's Labyrinth), composer Gustavo Santaolalla (winner, Babel and Brokeback Mountain), composer Alexandre Desplat (The Queen), animator Torill Kove (winner, The Danish Poet), production designer Eugenio Cabellero (winner, Pan's Labyrinth) and documentary filmmaker James Longley (Iraq in Fragments).

A lot of non-nominees were invited, too. Some of those included are Jennifer Aniston, Steve Carell, Daniel Craig, Aaron Eckhart, Chiwetel Ejiofor, Danny Huston, Christopher Plummer (you'd think he was already in there, too), producers Jonathan Glickman (The Pacifier) and Jane Rosenthal (The Good Shepherd), directors Peter Berg (Friday Night Lights) and D.J. Caruso (Disturbia), composer Carter Burwell (Kinsey), animation cinematographer Sharon Calahan (Finding Nemo), documentary filmmaker Brett Morgen (nominated in 2000 for On the Ropes) and, as mentioned, Steve James (nominated in 1995 for editing Hoop Dreams) and Simon West (shockingly no Oscar noms nor any Razzie noms). This is only the fourth year the Academy has made the list public, and you can see all of those invited here. All of the new members will be officially welcomed at a ceremony this September.

There aren't too many movies that necessitate sequels. Unless a movie is part of a pre-proposed series or is an adaptation of a series of books, it should probably be able to stand alone. But a lot of sequels come from movies that are perfect by themselves -- sometimes the sequels compliment nicely; sometimes they are easily ignored; occasionally they actually take away from the previously regarded original.

It isn't often that a movie screams out for a sequel, but I think I've come up with seven that at least whisper a request for one. Two actually have source sequels that they would be adapted from. One has a lot of history to mine material from. Three of them have been discussed at length at different points in time by makers of the original(s). The problem is that none of these sequels is likely to ever grace your DVD player let alone your local theater. For whatever reason, they simply have too much against them in the minds of studio execs. For now, though, we can dream.

1. The Restaurant at the End of the Universe (sequel to The Hitchhiker's Guide to the Galaxy)

Even with the incredible cast and the surprisingly faithful-enough script, The Hitchhiker's Guide to the Galaxy was not the epic that I was hoping for. It also wasn't the blockbuster that Disney was hoping for. The filmmakers, Garth Jennings and Nick Goldsmith (aka Hammer and Tongs) and the necessary actors had signed on for the sequel, to be adapted from Adam's follow-up, The Restaurant at the End of the Universe, but it appears to be dead in the water. Despite my few reservations with the first film, I would love to see the sequel, as well as the rest of the series (they could end before The Salmon of Doubt, I guess). I remember being bored with some of the prehistoric Earth sequences in Restaurant, but I think they'd make for great cinema. In any event, I think Martin Freeman and Mos Def were a great duo in the original, and they alone should have been propelled to stardom following its release. Maybe they can appear in something else together.

• Capote - Truman Capote spent five years researching In Cold Blood - the book that would be his last - and sophomore director Bennett Miller's film is a telling and rather literate fly-on-the-wall dramatization of that time. The biggest appeal is Philip Seymour Hoffman's bravura Oscar-winning performance as the eccentric author, which he takes beyond mere affectation and into full-on obsession as Capote's research into the 1959 murders of a Kansas family consumes him in every way. It is nice to see professional seether Catherine Keener in another nice-gal role, here as Capote friend and soon-to-be To Kill A Mockingbird scribe (Nell) Harper Lee. Miller and writer Dan Futterman (adapting Gerald Clarke's book) do not quite commit to a direction for the story, and humanizing killer Perry Smith (a dependable Clifton Collins Jr.) is time unwisely spent, though Hoffman, who also produced, sees that we remember the film for other reasons.