Inversions of V7 usually function as linear chords. These chords usually appear as complete chords, and resolve to complete tonic triads. The leading tone always resolves to tonic when appearing in an inverted V7.
The V6/5 has the leading tone in the bass (like a V6), and must resolve to a root position tonic triad. It often functions as a neighbor chord between two root position tonic triads, or as an incomplete neighbor with the bass leaping down into the V6/5 and resolving to the tonic triad in root position.
The V4/3 has scale degree two in the bass (like a V6/4). It connects root position tonic and first inversion tonic triads, moving in either direction.
The V4/2 has the chordal seventh in the bass (the fourth scale degree). Since inversions of V7 resolve to tonic, and the chordal seventh always resolves down by step, V4/2 must resolve to I6 (or i6). It often occurs as a passing chord, following a V (triad) with the bass moving down by step creating a V4/2. It can occur as a neighbor chord between two I6 chords; it can also follow a IV or ii6, with the bass note holding as a common tone between the two chords.