It's that time of year again when a bunch of movies fight it out to cement their place in history with a little gold statue.

Damien Chazelle's La La Land has driven critics mad with adoration due to its colourful homage to the golden age of cinema, and with a record-equalling fourteen nominations, it's certain to grab a couple of statues at the very least - with Best Original Score looking like a lock.

The category isn't without contention, though, as the score for Scorsese's Silence was too minimalist for the Academy's liking, while Jóhann Jóhannson's score for Arrival was overlooked on technical grounds. The glorious American Honey soundtrack also wasn't eligible as it only used pre-existing music.

The rules for entering a score are as follows:

To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.

The five movies that did make the cut are listed below. We'll take a brief look at the person behind each score and why it could win.

Jackie - Score composed by Mica Levi

By now everyone knows that Mica Levi is Micachu and the Shapes and that she is fucking amazing at music. Her unsettling score for the incredible Under The Skin put her on the map, and her work for Jackie could see her elevated to the pantheon of the greats if she manages to pull off an unlikely victory with her dissonant orchestral score.

Why it could win: Mica Levi is a fresh alternative at a time when the Academy could do with livening up its conservative image.

La La Land- Score composed by Justin Hurwitz

Spoiler: La La Land is going to win this category (and most others) because Hollywood loves films about Hollywood. The songs are cutesy and clever and play homage to the golden age of cinema making. La La Land is an (almost) millennial Singing in the Rain but with less backflips. Hurwitz's score for Whiplash fell foul of the originality rules, so a win here wouldn't be undeserved.

Why it could win: It's fucking La La Land.

Moonlight - Score composed by Nicholas Britell

A heartbreaking, beautiful film about the life of a homosexual black American man in three chapters. Moonlight has a delicate score relying on string arrangements in a minor key which uses hip-hop's chopped and screwed technique on classical compositions. Britell has pedigree after previously scoring 12 Years a Slave and The Big Short. He might not pick up the award in this category but Moonlight should walk away with some gold by the end of the night.

Why it could win: The use of hip-hop techniques is powerful.

Lion - Score composed by Dustin O'Halloran and Hauschka

An interesting pairing teamed up for Lion, with A Winged Victory For The Sullen's Dustin O'Halloran linking up with avant-garde pianist Hauschka. The combination of swelling strings and super delicate piano will be familiar to fans of Halloran's previous output, but the addition of Hauschka adds a slightly more experimental air to proceedings. There's also pretty unspectacular Sia song on the soundtrack which is pretty jarring against the score.

Why it could win: A lion eats the envelope with La La Land's name inside and somehow manages to produce a fake, proclaiming Lion the winner.

Passengers - Score composed by Thomas Newman

Newman has some serious chops when it comes to scoring movies. He was quite literally born to do it, with his dad Alfred Newman winning nine Best Original Score Oscars after being nominated 43 times. Poor Thomas doesn't have the same luck as he's failed to win the trophy from thirteen nominations. His space-infused soundtrack for Passengers is likely to leave him empty-handed again with the La La Land hype train steamrolling his chances.

Why it could win: The Academy feel bad for Tommy N.