2014 Oscars: One actor, multiple nods?

From left, Tom Hanks as Captain Richard Phillips in Paul Greengrass’ sea thriller “Captain Phillips,” and as Walt Disney in John Lee Hancock’s “Saving Mr. Banks.” (Sony, Columbia Pictures / Walt Disney Studios Motion Pictures / MCT)

“Captain Phillips,” “Saving Mr. Banks”

In one, he’s a level-headed cargo ship captain taken hostage by ruthless Somali pirates; in the other, he’s Walt Disney, a beloved public figure forced to dig deep into private pain to connect with the unhappy author of “Mary Poppins.”

Impressive. Both are real-life characters put through tremendous tests, but one anchors a tense, grueling drama; the other buoys a charming comedy with elements of gravitas and emotion.

In favor of the gripping “Captain Phillips,” partly because of the heart-breaking final scene.

From left, Matthew McConaughey as Mud in Jeff Nichols’ drama by the same name, as Mark Hanna in Martin Scorsese’s crime biopic “The Wolf of Wall Street,” and as Ron Woodroof in Jean-Marc Vallée’s drama “Dallas Buyers Club.” (Jim Bridges / Roadside Attractions / Paramount Pictures / Anne Marie Fox / Focus Features)

“Dallas Buyers Club,” “The Wolf of Wall Street,” “Mud”

In one, he’s a homophobic ‘70s rodeo cowboy turned crusader for AIDS patients; in another, he’s a corrupt ‘90s stock trader with some florid tics; and in the third, he’s an enigmatic fugitive hiding out along an Ozark river.

Middling. The first two characters are both wiry, driven hustlers with bad hair and a significant ick factor, but the role in the boy’s adventure tale “Mud” displays range and a soulful, lived-in authenticity.

Hard to beat for his all-in, emaciated lead in “Dallas Buyers Club,” the most likely to pay off on his growing momentum.

From left, Michael Fassbender as Counselor in Ridley Scott’s crime drama “The Counselor,” and as Edwin Epps in Steve McQueen’s biopic drama “12 Years a Slave.” (Kerry Brown / 20th Century Fox / Francois Duhamel / Fox Searchlight)

“12 Years a Slave,” “The Counselor”

In one, he’s a dissolute slave owner made terrifying by his abuse of unchecked power; in the other, he’s a polished El Paso lawyer naively mixing it up with a Mexican drug cartel.

Striking. Both are delusional characters who drive or deepen tragic narratives, but one is an unraveling monster while the other is smooth and controlled right up until his spectacular undoing.

Hands down in favor of the galvanizing “Slave.” In “The Counselor,” his subdued straight man is muted by a garish gallery of supporting scene-stealers. Even so, the double play is bound to elevate his standing.

From left, Amy Adams as Sydney Prosser in David O. Russell’s crime drama “American Hustle,” and as Amy in Spike Jonze’s romantic comedy “Her.” (Francois Duhamel / Columbia Pictures / Merrick Morton / Warner Bros.)

“American Hustle,” “Her”

In one, she’s the glammed-up, cunning British partner-in-crime of a ‘70s-era grifter who specializes in high-stakes cons; in the other, she’s the warm, funny, down-to-earth neighbor of a modern man in love with his computer’s operating system.

High contrast indeed.

Though it has yet to be screened, the showy “American Hustle” role is the odds-on attention-getter.

From left, Christian Bale as Russell Baze in Scott Cooper’s crime thriller “Out of the Furnace,” and as Irving Rosenfeld in David O. Russell’s crime drama “American Hustle.” (Kerry Hayes / Relativity Media / Francois Duhamel / Columbia Pictures)

“American Hustle,” “Out of the Furnace”

In one, he’s a paunchy, brainy, ulcerous East Coast con man forced to assist the FBI in a 1970s sting loosely based on real events; in the other, he’s a lean, hardened Rust Belt steel mill worker out to rescue his brother from a violent crime ring.

Wide. These characters exist at opposite poles of the masculine spectrum.

Not in yet. “American Hustle” is still largely unseen, but both pictures are from directors — David O. Russell (“Silver Linings Playbook”) and Scott Cooper (“Crazy Heart”) — who have previously led actors to Oscar recognition.

From left, Benedict Cumberbatch as Ford in Steve McQueen’s dramatic biopic “12 Years a Slave,” as Julian Assange in Bill Condon’s dramatic thriller “The Fifth Estate,” and as “Little” Charles Aiken in John Wells’ dramatic comedy “August: Osage County.” (Jaap Buitendijk / Fox Searchlight / Frank Connor / Dreamworks / Claire Folger / The Weinstein Co.).

“August: Osage County,” “12 Years a Slave,” “The Fifth Estate”

In one, he’s the tender-hearted scapegoat of a corrosive Midwestern family; in another, he’s a cultivated Southern slave owner with at least a thimbleful of decency; in the third, he’s real-life Australian Julian Assange, the WikiLeaks founder and reckless crusader against government secrecy.

Remarkable. Three different accents, eras and emotional temperatures.

His work in “The Fifth Estate” has been hailed in the British press as “brilliant,” though reaction to the film itself is subdued, and he’s the sympathetic heart of the star-studded “August.” Could his ubiquity get him recognized in lead and supporting categories?