It’s okay, I was being diplomatic in my own way, explaining how there can be so many wildly different color corrections for the same film, without outright saying most of them are wrong. Yes, basically there’s DrDre’s color corrections and then there’s subjectively messing around with color, but that’s not really fair to the non-Dre corrections, some of which are pleasant enough to watch in spite of their wrongness.
DrDre’s colormatch tool isn’t how to do “colour correction correctly” at all - what it’s useful for is precisely matching one source to another for editing purposes.
The way that the proper colour corrections are done is the colouring room is set up to the specifications of the Director’s projection room, a reference print is supplied (they usually have one) and then the colour correction is done scene-by-scene and compared directly against projection. Getting it right is an artform in its own right because how a film looks in a darkened cinema is different to how the same film would look if projected in a brightly-lit living room. They even used to make prints specific to those kind of conditions - they’re called “Drive-in prints” and they’re designed to be projected while there’s still some amount of daylight so that drive-in venues could maximise their showtime hours. Then there’s also the fact that the audience is more forgiving in the cinema than they are at home with inconsistent colour grading - and again that largely comes down to having the lights on or off.
Empire Strikes Back which I’ve seen projected not that long ago is wildly inconsistent in the colour grading, even in the cinema it does not look the way a modern audience would expect a blockbuster to look - so of course you have to make some gentile enhancements to the grading to give it a more consistent look.