If you lack the proper gear and/or engineering skills to make it maximally loud in a somewhat musically satisfying way, you’re at a disadvantage because of the loudness issue. And of course it’s counter-productive to squash everything as much as humanly possible for film.
It goes in cycles for me. I make a habit to try to play on dynamics more then compression. Then the loudness starts creeping back up and it gets a little louder, and a little louder. Then all of a sudden I realize that I am making everything super loud again, then focus on dynamics again. Its a vicious cycle.