First of all, while I like the compression pumping on the master buss, which gives things that 'everything fighting with everything else' sensation, I'm less keen on the way the loudness processing in particular feels like it has flattened the mix dynamics as a whole. Don't get me wrong: I have no problem with you applying loudness processing to achieve this kind of peak-to-average figure if you feel that you want it to compete in loudness terms with market competition. My problem is that I think you've settled for an unacceptable degree of processing artefacts in return for the loudness hike -- a slightly folded snare sound, some over-emphasised low-level details (giving a sense of excess reverb and overall mix clutter), and some rather disconcerting level-hike 'bubbles' in transitions (for example during the 'feel like a failure' lyrics both times, and at the end of the track) being the main culprits. My suggestion would be to go back to the loudness processing stage, match the subjective loudness of the loudness-processed signal with that of the unprocessed signal using the loudness processor's Output/Ceiling control, and then toggle the bypass switch. With the subjective loudness change out of the equation, the side-effects of the processing will become much more audible and apparent.
Remaining on the subject of dynamics for the moment, the individual channel and group-buss processing is also pretty heavy across the board, and although the compression is adding a lot of character to the sounds, I'm suspicious that you may be relying on it too heavily for balance purposes, pushing the settings slightly beyond where they sound best in order to nail down each instrument's level in the balance. The chorus vocals in particular strike me this way, and I'd be tempted to back off the compression a bit (or maybe chain compressors to get more transparent gain-reduction) and then make up the dynamics-control shortfall with fader automation. The drums also feel like they've been squeezed rather too much; if you're after that degree of sustain and 'pump', then perhaps more reliance on parallel processing would be advisable. You also need to be careful with heavy compression that it doesn't pull up details you don't want it to: lip noise, fret squeaks, and sibilance -- you've de-essed fairly heavily against the latter, it appears, but the others still need attention.
There are a number of great bits of creative effects work. I love the verse guitar's tempo-delay patch, which makes particularly good sense when it reappears in the reintro, fleshing out that line nicely. (It's often seemed rather stranded to me in most people's versions.) The psychedelic BV modulation effect is another highlight, which really catches the ear. That said, I'm not sure whether these effects remain close enough to the band's original intent. Clearly only they can answer that, but if I'd been in your situation designing them, I think I'd probably have filed them under 'great, but use some other day', rather than gambling on comparatively short odds here.
Beyond that, the balances and timbres you've used are broadly in line with my own preferences, and you've taken care to mult/automate some important parts, such as the kick drum. (Maybe dial in just a touch less beater on the chorus kick, though.) The snare drum is probably the biggest question-mark for me, because you've gone for a very trashy kind of sound that steps a bit too far outside naturalness for me. Rock drums are never really natural as such, of course, but they still need to hang together into a kit, and the snare here feels a bit too lo-fi and 'stuck on'. Although you could just try tweaking the sound you've already got, or adding more effects, my preferred course would be to strip it back entirely, listen to the track without it, and then try to rebuild a tone from scratch that fits in with the arrangement more easily.
It's difficult to pick apart mix-effects usage given the heavy master-buss processing, but I suspect that you might be over-egging the pudding a little with those too. The guitars in the choruses lose out most to this, such that we're left with lots of size and power, but at the expense of considerable blurring of the sonic details of the original recordings. Try shortening some decay times in the first instance, and also try turning different effects on/off while the mix is playing to remind yourself how much each is contributing. Listening to the mix without the drums may also help you examine the effect balances of internal parts more critically.
Overall tonality is pretty good in the main, although I might pull back a couple of decibels around 450Hz and raise the top end above 1kHz a couple of decibels too. The characteristic 1-2kHz peak in the backing vocals tone slightly overcooks this frequency range in the chorus balance for me as well, so perhaps there might be something else going on there that could be EQ'd to clear some space for them in that region. Switching to mono brings about a significant loss of high end on the cymbals and pushes the chorus guitar riff in particular rather too far back in the balance for me.
Thanks for letting us listen to your mix. As much as I think you can still refine your compression tactics, I do like the assertiveness of the vision you've presented here, as it tallies with how I imagine the track too.