I agree with all you said but wanted to point out that Skyfall was shot in 2.8K ARRIRAW and 5K Redcode RAW, not 1080p.
Even worse is when it's painfully obvious that the 2.35:1 letterbox was tossed on almost as an afterthought during post and none of the shots are actually composed for it
I believe that the time it takes for a film to get rediscovered has grown shorter ever since home video became a thing.
I mean, in most cases you only get one shot at a theatrical distribution. If your advertising fails to make an impression or something, there's not much you can do in such a limited window. This could totally destroy a movie like Citizen Kane, made at a time when theatrical distribution was all there was.
But home viewing isn't a limited window. When anyone can watch your movie whenever they want, it can lead to a huge re-evaluation. The best example I can think of is Dredd; it made about $12 at the box office because many people thought it was related to the 1995 Judge Dredd movie with Sylvester Stallone. But it became very popular on home formats within a year of its initial release and now it seems to be regarded as one of the best action movies of the last decade.
Seems to just be 2K
I'm not sure why it's here either but it's exactly what I needed tonight so I'm not complaining
The reality is that 99% of the discussion about color grading on the web is fueled by opinion and a basic knowledge of editing software.
There's a fan-edit of The Hateful Eight that "fixes" the movie's blue-heavy palette on the assumption that it was some kind of technical error, as if a control freak like Tarantino could have shot something on 70mm and let it hit theaters without it looking exactly like he wanted it to.
TH8 is blue for a reason. Marvel's movies are flat for a reason. Disliking the reasons or the results is fine, but the "it's wrong if I don't like it but I can FIX IT" mentality is dangerously arrogant.