I haven’t investigated those services, but “some say” at least one of them is actually using Ozone, and I suppose most of them are based on some licensed tech from somewhere.
Either way, I’ve been using Ozone Advanced since version 8 (IIRC), and it’s a really quick and handy tool for sorting out minor issues and hitting the target loudness with transparent limiting - BUT, I don’t think any of these tools will do a great job on a mix that has significant issues. They just don’t have enough information about the input, or the desired outcome, and the bigger changes they have to do, the more obvious this becomes.
For example, if you feed solo or small ensemble pieces into Ozone, it tends to get all confused and apply some extreme EQ, because it doesn’t know what to do with “sparse” material. You have to use some very similar material as reference to give it a fair shot at doing anything useful there, or just skip the Assistant and use it as a manual mastering chain.
Either way, since the loudness war is supposedly over, at least if you look at the loudness levels that most services will normalize everything to, there shouldn’t really be much going on in the mastering chain, except for the loudest parts of more epic material - and that’s where you run into trouble no matter what. I think the best option there is to tame the dynamics in the mix (compression, sidechaining, multiband compression, saturation, …), to have the sound you’re going for, without distortion or pumping (unless you specifically want that for effect), leaving only final touches for the mastering chain. That done properly, at least Ozone tends to just do its transparent mastering thing, and all is well.