it's detail work for sure. I haven't had good luck with sidechaining or other superquick volume rides on wide frequency music because you can always hear the pump.
Instead, I tend to do a lot of EQ automation on the music and on the effects to get them all to hit where you need them to hit.
Big music and big sfx hits can't effectively occupy the same moment. If there's a giant impact visual cut directly on the beat, you'd be amazed how much low end you can cut out of either the music or fx just for that quick moment to really make that design element pop.
Also, regarding sound design elements - midrange frequencies, mono sources (especially if you're , distortion, and pitch movement all cut through a mix waaaay better than stereo low frequency static pitch things.
Make your elements honk and buzz and shimmer and wiggle, and they'll rate. Make them thump and thud and they won't.
Arrangement is also key - if you can cut a frame or two out before a big impact it'll smack harder. If you can find musical passages that breakdown a bit during big sound design moments (even if only for 1 bar) that can help out a lot.
bob and weave, execute moment by moment.