These tricks make a track less suitable for television because they harm mono compatibility, but they work great in a theater. Simulate depth by adding reverb to distant sounds and reducing their high end. Of course, if you've got the option of multichannel sound, use it. You can also tame conflicting sounds with equalizers to reduce frequencies that are getting in the way. But avoid television-style compression.
Theatrical films can have an enormous dynamic range.
All of this requires a good mixing environment. You need excellent monitor speakers and a room with no echoes or obtrusive computer fans and VTR drums. You also need to mix at the same volume your audience will hear the track so your ears' natural compression and equalization matches the audience's. You can't predict this volume when mixing a television show, but it's standardized for theatrical films. Borrow a sound level meter and set your monitors so that -20dBfs digital, or zero VU analog, equals 85dB SPL at the mixing position.