Hey man, yeah, most larger studios are going to hire specialists because they have large scale projects that need specific development pipelines and need people to fit well into those pipelines, for the most part. So unless you're, for example, the king of fluid dynamics sims for smoke and explosions in some specific software, that's not really the environment for you.
You would do better to be talking to smaller studios where artists have to take on a wider range of responsibilities, and find out what it is that those kinds of studios are really looking for. Whether these studios are "badass" or not is up to you because most people look at Psyop like they look at Ferrari, like they don't really even understand what makes a Ferrari good, or how, or what to do with it, they're just wowed and want to own or be a part of "the best". Ferraris are real good at a few things, and real bad a lots of other things. You wouldn't take one to the arctic, or underwater, or haul a camper with it, or go cross country and live out of it, etc. What you have to figure out is if you're actually interested in what psyop does and how they do it, or if you're merely starry-eyed by their admittedly inspiring image.
Your reel is mainly demonstrating 2D work in an environmental context, and then has some commercial application-type stuff peppered in. So, I might be tempted to interpret that as a collection of work from someone whose experience is primarily in environmental installations, but who hasn't found enough work in that niche to put together a reel exclusive to that. And I think you're intuiting that already, which is why you're here asking whether that's the case. The question for you is: what sort of work do you want to do, and with whom, and how are you going to present yourself as an attractive and valuable option to them?
That said, if you're in the freelance pool, here's what happens... A studio is invited to pitch, or gets hired to do a job, and it occurs to them that the requirements of the project outstrip their resources or their talent in some way(s). So they go looking to fill in the gaps, usually with relatively specific talent sets in mind. So now you've got someone (a producer, usually) in a bind, skimming the talent pools very quickly for someone who meets the need. They're looking for, say, someone who "knows C4D", whatever that might mean. Or for a "designer". Sometimes they aren't informed well enough to know what they need and they're just trying to fill seats with "motion graphics people". The first two situations are why you'd want to present yourself with a specific skillset, and why you'd need to demonstrate mastery of that skillset. The third is why you might want to present yourself as a jack of all trades, however a studio that doesn't know what it needs and has producers who don't know the difference between a designer and an animator are more likely to be all around shitstorms of mediocrity and frustration, and I'll let you guess why. This is all to say that there are challenges with whichever strategy you take. But in the end, if you can get experience with enough studios, you should be able to much more easily figure out what sort of work you do and don't like, what sort of environments you favor, and how to appeal to the people who seem to have that.
As to the question of "what makes a body of work stand out", hopefully it's apparent at this point that the context of an employer's need is extremely important. Beyond that, that's a pretty big question of talent, aesthetic, visual communication skills, inspiration, etc., and what you're really asking is "how do I get really fucking good at this?" And I don't know if there's a straightforward answer for that one.