There's no question that the BEQs posted to AVSForum cover a wide range of content, which also includes films that IMO didn't need them to begin with. I have a few reasons for being less than enthusiastic about them. For one, headroom requirements are a total unknown, and many appear very aggressive and likely to overload my system.
For another, I strongly believe "first, do no harm" as far as the soundtrack is concerned. Ideally, filters of any kind should only be used when they are fundamentally part of the sound. The point of the BEQ, IMO, is to precisely reverse the degrading filters in place, which is not at all the same as making the PvA look perfectly smooth down to 5 Hz. Along these lines, the AVSForum BEQs appear to be to have been EQed quite aggressively for a straighter/smoother, and I strongly suspect that this has degrading consequences. People forget that the PvA data is aggregated and often reflects the contribution of many different effects which may only appear smooth "on average". So trying to make it look perfectly smooth, especially using peaking filters, is likely to screw up the sound.
Related to this is the fact that the BEQs are usually made based on a sum of channels PvA, and many mixes have very different PvAs for each channel. I think only a couple BEQs posted here specify the same filters on all channels. The issue with doing this is that it won't really "correct" anything at all. Every channel will be wrong in a different way. Each is likely to come with new resonances that weren't on the soundtrack before. I don't want new resonances. The main reason I like BEQ is because it gets rid of the annoying resonance at the filter cut-off. The experience with a truly neutral bass spectrum is simply marvelous. Transient response is impeccable, and the bass delivered is simultaneously tight and firm. It moves the listener. Any resonances spoil that magic to a great extent.
I also appreciate that @maxmercy does a kind of quality check and doesn't post BEQs that didn't improve anything. Very often the sound design just isn't good enough or consistent enough to make it worth it. Often the problem may be inconsistent use of filters in the sound design itself rather than anything to do with how the film is mixed. Related to this, it's possible for a mix to use dynamic filtering that respond to available headroom. Such a mix might be full-band for lower level sounds but cut off at 30 Hz for louder sounds. I suspect this may have been done in Jurassic World but don't know.