This'll get lost in the fray but actually, I think one of the better users of the "Destiny" concept is Brandon Sanderson author of(Mistborn/Elantris/the final "Wheel of Time" books/Stormlight Archive)
usually in his thick tri or quad-character arc novels. There are main characters with power they don't understand, yet you get the sense they are going to fulfill it before the book is over. Sometimes they don't or their destiny isn't exactly a 'power fantasy' and he'll pull a fast one on you.
Still these same fated characters like (Raoden from Elantris/ Kaladin & Dalinar from The Way of Kings) don't really have any (Mr. Miyagi, or Gandalf, Obi-Wan, Yoda, or Jor-El, or any cipher character to make things easier for them. They may have support systems in other characters, but others are more confused than they are. Part of their ascension is more of a mystery than an explicit 'hero's journey'
Their power is never completely defined from the beginning. Any prophecies in the novels are too jumbled or broken in early chapters to make complete sense of before the main characters do. In the tradition of good suspense, you don't know whats going to happen unless it's just before its about to happen.
These people are drowned into situations of grim necessity and severe physical or social handicap, slavery, hellish disease and quarantine, seemingly schizophrenic episodes. So their 'destiny' becomes a psychological buoy to hang onto.
They get clues from different people and sources and really have to struggle by themselves to come into such power. They can even struggle with the possibility they're going crazy, believing in something others don't, and make risky decisions.
I noticed characters like that are still largely making their own choice, dealing with consequences and uncertainty, despite destiny. Their occupation, their future and being isn't completely written in stone, just a particular facet of them is.
This is what hollywood's missing. They use destiny like a tax exempt card before the cashier starts ringing, a pre set convenience, to put in a two dimensional hero, or fit in that deus-ex machina solution to all ils.
Hollywood's problem is when they choose not to 'simulate' the idea that 'all victories are earned, not bought'.
And in our jaded age where people draw unto lecherous villains or anti-heroes because they are "self-made" convincing, and they embody 'The American Dream' better, it seems there is a need for popular fiction to better explain why certain warriors would chose the role of the hero, and what they stand for instead of being ham-fisted into one.
