The best films do better than entertain. They inspire. They enlighten. They expose the essential elements that we all share. Whether it’s human suffering, the joys and pains of love or the epic struggle to combat one’s personal demons, good movies delve deep into the psyche. They draw from a rich and complicated personal experience.

So, why is it that Hollywood has missed the mark so often, so strongly, in the past several months? Why has it been so long since an authentically good film has been made? Could it be that Hollywood has just run dry?

They are certainly not out of stories. In recent months we’ve seen several films with incredibly rich and strong stories. Kinsey, in particular, had such a compelling back story that those of us in smaller markets pined for the local release of the film. But it sadly fell short of its potential.

“Lemony Snicket’s A Series of Unfortunate Events” was another of these movies. Visually stunning, the effect helped to lift up the spirit and embolden the mind, but the writing fell short. From a wonderful children’s series came a mere nod towards greatness.

For every “Schindler’s List” or “Michael Collins” that comes along, hundreds of movies fall by the wayside. Movies with incredible stories, but lackluster follow-through. Invariably, they all fail in the same note.

For all of our love of explosions and gunfire, the movies that have drawn us in the most have always been stories of personal conflict, of overcoming internal conflict to rise above whatever external forces held them down.

Let’s take “Schindler’s List,” for example. It’s no secret that the real Oscar Schindler did not begin his business in an attempt to save Jews from Nazi concentration camps. He began his business in order to make money, which is exactly how Liam Neeson played him. Over the course of a visually stunning movie, Neeson gradually reveals the deep-seated inner turmoil that eventually led to his conversion and redemption. It is that struggle that most defines the movie.

In “A Beautiful Mind” we have the same paradigm echoed in an interesting way. John Nash is first confronted with a need to be original, a need to gain academic and intellectual supremacy over the mental rivals around him. His need becomes obsessive and dangerous, but the eventual triumph and subsequent placement in a prestigious research facility is only the beginning. It echoes out, instead, to reveal a much deeper psychological conflict. It rings in us, finds root in us as we watch, horrified, as it is revealed that Nash’s own mind, the mind that once triumphed over those around him, turned against him long ago.

These are simple formulas, when broken down. Character has a fundamental flaw that prevents her from accomplishing what must be accomplished. Through a difficult and often prolonged struggle, she is able to overcome that flaw and thereby accomplish whatever was being held back.

We can go back and look at the greatest movies of all time and see this formula time and time again. The films that seem to fall outside always, upon further study, straighten up. Citizen Kane is a prime example. While Charles Foster Kane never truly overcomes his internal flaws, by the time that we discover the meaning of “Rosebud,” we also learn that he is aware of his own errors.

So, if it seems to be so universal, why hasn’t Hollywood latched onto it? Frankly, it’s difficult to achieve. True character development requires a rare culmination of talent. The writer must be able to write dialogue that betrays inner emotion. The director must be able to develop scenes that heighten any sense of the struggle. Most importantly, the actor must be able to identify with the specifics of that struggle, yet be able to generalize it enough to appeal to the audience.

The good news is that some incredible films are being released to theatres in time for Oscar season. Both “Million Dollar Baby” and “Hotel Rwanda” look to be impressive contenders for our attention. Both have accomplished and seasoned actors ready to leave their mark. Both have critics foaming at the mouth.

One day, Hollywood might get its act together. In the meantime, it’s always good to give it a try, to see what is out there and what will strike us. Even if it misses its mark, it’s sure to be an entertaining adventure.

Charles Parsons is a senior majoring in literature. He can be reached at [email protected].