I just spent many hours syncing thousands of clips for a feature film in Premiere. The problem with these automated tools is that they assume that all mics recorded relatively the same sound. But when you have 6 lavs and a few boom mics recording different actors and positioned differently, some of them record very different audio, especially compared to any scratch audio from the camera... and automated systems like this don't handle different audio well. So you end up spending the time selecting the files, waiting for it to process, only to have it fail to sync them, and you're forced to sync it manually anyways, costing you extra time. Most of the time, once you get into a rhythm, I can sync audio manually as fast as it would be to select the clips in Premiere and wait for the automated system to do it's thing. These tools have their use, but there are many situations where it fails. I just invested in Tentacle on IndieGogo, a new low-cost timecode system from some guys in Germany. I'm hoping this will prevent me from ever having to worry about syncing video and audio again.

"...Essentially, it turns our lovely 24fps content into something that vaguely resembles content shot at 60fps..."

That's the main problem. Interpolated frames are not the same as video captured at higher framerates. I think HFR is the way of the future and 24fps will be left to a few diehards that embrace older methods... like film compared to digital.... But this bad interpolation gives some filmmakers the wrong impression. Once most films are shot at framerates higher than 24fps and those HFR techniques have been mastered, our children will rarely consider 24fps content to be better. I don't how many more blurry fight sequences some filmmakers have to see before they see that HFR has it's clear advantages.