CineScope is guest experience and operations software built for one industry: cinema exhibition. It brings together three things that normally live in separate systems and never get compared — what guests report, what guests thought, and what each film actually sold.
THE PROBLEM IT SOLVES
Cinemas usually find out about a broken seat, a cold auditorium or an out-of-order stall in one of two ways: a guest complains at the desk, or the guest says nothing and does not come back. Most say nothing. Post-visit email surveys reach people days later, after they have decided how they feel and often after they have already posted publicly, and they reach the small fraction who open marketing email at all.
CineScope puts the reporting surface inside the building, at the moment and place the problem is in front of the guest — which is the only window in which the visit can still be saved.
GUEST AND STAFF REPORTING
QR placards hang throughout the venue: in each auditorium, in restrooms, in lobbies and at concessions. Scanning one opens a web form that already knows which room it came from, so nobody has to describe where they are. A report takes about thirty seconds. There is no app to download and no account to create, which is what makes the completion rate a real number rather than an aspiration.
Reports are anonymous by design. Nothing collected identifies the guest, nobody is contacted about a report, and a guard on the form asks a guest to take personal details back out if they type any. Each report returns a private tracking link, so the guest can see the status change as staff work it — which is what makes telling you feel worth doing rather than shouting into a void.
Guests can report in nine languages. What they write is translated into English for staff, and staff replies go back in the language the guest used.
Staff use the same placards. A duty manager walking the building files what they find through the same door, so the fault log is one log rather than a guest channel and an internal one that disagree.
AI TRIAGE, WITH A LADDER
A Reviewer Agent examines every report as it arrives. It merges duplicates into the case already open, judges how much the problem matters, and routes it to the staff whose scope covers that building and that kind of work.
What it may decide alone is deliberately bounded. High-confidence verdicts are applied; low-confidence ones are released but never folded into another case, because a wrong release wastes a check and a wrong fold buries a fresh fault under an old job. Anything it is unsure about, and every emergency whichever way the verdict points, is left for a person. Its reasoning is written into the case history under its own name, so the audit trail always says who decided what and on what basis. Triage can be switched off entirely, and every verdict reviewed by hand instead.
FIRST-PARTY SENTIMENT
Two more placards ask questions rather than take reports. The one by the auditorium doors asks about the film — a star rating and a would-you-recommend score. The one at the exits asks about the visit, and produces a net promoter score for the building itself.
Because it is collected in the room, it supports comparisons a review site cannot:
• A title's ratings across the weeks of its run, so word of mouth building or fading is visible while the run is still on
• Whether the late shows of a film rate lower than its matinees
• Which auditorium guests mark down whatever is playing in it — the room, not the film
• A building's visit score week by week, set beside the cases that were open during each week
• What guests who have already seen a title thought, beside what its presales are doing
It stays anonymous. Two scores from the same person are indistinguishable from two people agreeing, and nothing joins a score to an individual.
PROGRAMMING AND THE POS
Connected to the point of sale, CineScope reads the schedule, seats sold per showing and the ticket price list. From that it scores every film run against what that specific cinema usually does on those same days — an index where 1.0 is exactly usual and 0.6 is forty per cent below normal for those screenings.
That benchmark is the point. Raw admissions cannot tell you whether a booking went wrong, because a quiet title in a quiet week is not the same as a quiet title in a busy one. The index also states how much evidence each judgement rests on, and says so plainly when there is too little to judge.
On top of it, CineScope proposes the schedule changes worth making — and proposes them in PAIRS, because a screen is a fixed asset: one run gains a screening a day only if another gives one up, and the pair is the advice. A manager reviews and publishes. Nothing reschedules itself.
Also from the POS feed: occupancy by the hour a show starts, screen utilisation over a window, sellout pressure per auditorium, what each run is booked to do next week beside how it has just been selling, and whether a specific room is costing admissions when judged against how the same films performed elsewhere in the building.
WHAT IT WILL NOT PRETEND TO KNOW
The POS reports how many seats went and never which ticket types were sold, so CineScope will not print a revenue figure. Where it values admissions it gives a RANGE — the cheapest and dearest ticket at that cinema — and names the prices it used. It carries no concessions data, because the feed does not publish any. Market box office is optional and comes from either Wikidata, read daily, or a Comscore CSV the customer imports, and every figure is stamped with the day it was true.
These are stated because they are the questions a serious buyer asks on the second call, and because a number nobody can reconcile is worse than no number.
ASKING IT QUESTIONS
An assistant is built into the app. It answers questions about the circuit's own data in plain English — "which runs are playing below usual this week and what should I move", "is screen 4 costing us admissions or is it the films it gets", "did the late shows of this title rate lower than the matinees".
It is read-only: it cannot change anything. It is scoped to the account asking, so it can only reach data that person could already open themselves — a duty manager does not get the circuit. The same tools are available over an MCP connector, so an external AI client can be pointed at the circuit read-only under OAuth.
OPERATIONS AND COMPLIANCE
Role-based dashboards for admins, general managers and maintenance. Maintenance accounts are scoped two ways at once — by building and by issue type — because the projection contractor covers picture and sound everywhere while the seat repairer covers two sites and only seats.
Inspection scheduling and compliance tracking, with records that survive the account that entered them. A weekly digest email carrying the week: tickets, seats filled, sold out, reports raised, cases open, and the films that went above or below what the building usually does.
PLATFORM AND SECURITY
Runs at the edge on Cloudflare Workers, with per-circuit data isolation. Installs as a progressive web app on any phone, tablet or desktop — there is nothing to deploy to a device and nothing for a venue to host.
Sign-in supports passkeys, authenticator apps and emailed codes, with a two-step policy the account admin applies to the roles they choose. Every sign-in and security event is logged and readable in the app. Support access is off unless the customer turns it on, and can be granted blinded so support can help without reading guest report text. A compliance register tracks GDPR and UK GDPR obligations with annual attestations. Content security policy forbids inline scripts and styles throughout. Customers can take a full backup and a CSV export of their own data whenever they want it.
WHO IT IS FOR
Cinema exhibitors, from independents to circuits. Bought by operations directors and owners; used daily by general managers, duty managers and maintenance contractors; read weekly by head office. Most valuable where somebody is accountable for buildings they cannot walk through every day.
Who Is the Company Behind CineScope?
