This is a really interesting topic. It seems to me that you can probably draw a parallel between various generations of technology they used, rather than actual emulsions. For example, when T-grain came out, it was probably use in the Kodacolor emulsions of the early 90s. Some of the advances in "Vision" stocks were probably also reflected in the Gold films of 2000s, and also Portra and Supra. Then came the two-electron sensitization inovation of Vision2. Some time after that Kodak came out with a brand new generation of Portra films and Ultra Color. I suspect they intergrated some of the advancements of V2 in those new still emulsions.
As far as the general "flavour" goes of each emulsion, I think they are quite different. Portra has an odd color palette, which renders skintones in a certain pleasing way, but looks a bit "thin" in the exteriors. Ultra Color is on the other end of the spectrum, and also has no parallel in MP world, except maybe Eterna Vivid. Gold was I guess "normal", but still more contrasty than a MP emulsion I think.
That all being said, I plan to play a bit with still films in my movie camera soon. I ran some tests last night (coincidentally), to see how still film behaves in a motion picture camera. I made some measurements, and concluded that I can get about two and a half seconds from a roll of 36 exposure still film. It could make for an interesting (and cheap) hobby. I suspect there might be some problems like pressure plate reflections due to the lack of rem-jet, but we'll see.
I do remember that someone used Kodak Gold 1600 in the early 90s for some nature documentary footage shot in low light. This is the only instance that I know of where someone used still film in a motion picture camera.