XP2 is a perfect example of the blaaaaah tonality of a chromogenic product once it goes black and white. There's a big penalty to all that alleged "latitude", which really indicated just a very long toe with poor differentiation, whether b&w tonality per se, or hue distinction in the case of amateur color neg films.
But despite all those grossly over / under crayon or paint chip tests we've all done at one time or another testing the latitude of various color films, once one starts getting out in left field, it's never simply a matter of darker or lighter, but of actual dye curve crossovers and hue shifts. And much of this can't be simply fixed in Fauxtoshop. It's like mixing up concrete; once all the gravel and sand and cement sets up, it's very difficult to get it apart again. And as insulting as it might sound, most color photographers have rather poor color perception, with rather mediocre expectations. Any halfway good watercolor painter is ten times better at it.
The film manufacturers know all this, so wisely offer amateur products which at least tend to dump all the warmish neutrals into the bin of "pleasing skintones" (at the expense of the purity of related hues, of course). Anyone can make a box of Crayolas look loud in a film ad or whatever. The real question is about the integrity of the relatively "neutral hues" - it takes the right product and serious printing skills to keep those intact the whole way. Professional color standards like the MacBeth Color Checker Chart were very thoughtfully designed with that in mind.