Cinema Tweets engagement report
@CinemaTweets1 - 438K followers on X
Measured over 41 original posts from a 30-day window, last computed on August 30, 2026.
Engagement
A typical post picks up 266 interactions against 438K followers, an engagement rate of 0.061%. Measured over 41 original posts, its engagement rate beats 59% of 3,862 tracked accounts of a similar size, which puts it in the middle of its size range rather than at either end. Posts are seen about 19K times each, and 1.40% of those impressions turn into an interaction. That is about 4.35% of the follower count, which is the gap between an audience on paper and an audience in a timeline. Posting runs at about 1.8 posts a day over the last 30 days, though only 13% of days saw any activity at all. Most posts go out around 03:00 UTC, and Saturday is the busiest day of the week. Of the 41 posts sampled, 100% carry an image or video. The account's strongest tracked post pulled 1.9K interactions, about 7.1x its own typical post.
Measured over 41 original posts from a 30-day window, last computed on August 30, 2026.
Compared with accounts its own size
Cinema Tweets's engagement rate beats 59% of the tracked X accounts closest to it in follower count (3,862 accounts, accounts of similar size (decile 7 of 10)). A percentile is spread evenly by construction, so 50 really is the middle of that group and 90 really is its top tenth.
On engagement per impression rather than per follower it beats 60% of the same group. When those two numbers disagree, the gap is about how far its posts travel rather than how people react to them.
Where this sits in the catalog
At 0.061%, Cinema Tweets sits above the 25th percentile of the 37,350 accounts in this comparison. That places it in the below the median band, which runs 0.012% to 0.081%.
Show the percentile table
| Percentile | Engagement rate |
|---|---|
| 10th percentile | 0.002% |
| 25th percentile | 0.012% |
| 50th percentile | 0.081% |
| 75th percentile | 0.437% |
| 90th percentile | 2.10% |
| 99th percentile | 159.9% |
This ruler is the whole measured catalog, not a size-matched group: it shows where the raw rate falls across every account we can measure, all of which are large. For a like-for-like comparison, read the size-band percentile above instead. See how the bands are built
Posting timing
This account posts most often around 03:00 UTC, and Saturday is its busiest day of the week. The bars below are the catalog-wide pattern, with this account's own busiest slot marked. They do not show how this account performs at each hour: we keep one aggregate per account, not one per hour, so that measurement does not exist in our data.
Show engagement by hour posted, utc as a table
| Hour (UTC) | Vs author median | Posts |
|---|---|---|
| 00:00 UTC | -1% | 52K |
| 01:00 UTC | -2% | 53K |
| 02:00 UTC | -3% | 51K |
| 03:00 UTC | -4% | 55K |
| 04:00 UTC | -6% | 44K |
| 05:00 UTC | -4% | 43K |
| 06:00 UTC | -4% | 49K |
| 07:00 UTC | -5% | 53K |
| 08:00 UTC | -4% | 62K |
| 09:00 UTC | -3% | 71K |
| 10:00 UTC | -2% | 74K |
| 11:00 UTC | -3% | 80K |
| 12:00 UTC | -2% | 88K |
| 13:00 UTC | -2% | 97K |
| 14:00 UTC | -4% | 100K |
| 15:00 UTC | -2% | 103K |
| 16:00 UTC | -3% | 100K |
| 17:00 UTC | -3% | 93K |
| 18:00 UTC | -2% | 87K |
| 19:00 UTC | -2% | 82K |
| 20:00 UTC | -1% | 76K |
| 21:00 UTC | -1% | 67K |
| 22:00 UTC | -1% | 58K |
| 23:00 UTC | -1% | 52K |
Show engagement by day of week as a table
| Day | Vs author median | Posts |
|---|---|---|
| Sunday | +5% | 235K |
| Monday | 0% | 296K |
| Tuesday | -3% | 292K |
| Wednesday | -1% | 254K |
| Thursday | -2% | 248K |
| Friday | -3% | 256K |
| Saturday | +3% | 230K |
Best tweets
- Aug 28, 20267.1x their median
Mel Gibson & Danny Glover will probably never share the screen together again but they gave us a lifetime of moments together. I always write about how Shane Black is the king of the buddy-cop genre & this is probably his best work. Gibson & Glover had such natural chemistry - nothing ever felt forced. Their banter is perfect. These are some of the most rewatchable movies I can remember.
- Aug 29, 20264.2x their median
BREAKING: Tom Cruise Just Shared a Photo of The Days of Thunder Sequel With Anne Hathaway. Summer 2028. https://t.co/5qL67SPTv2
- Aug 28, 20263.4x their median
The Dog Stars (🌟🌟🌟🌟) is Ridley Scott’s best film of the decade. There will be people who will try to convince you that this movie isn’t worth seeing: don’t believe them. Only months away from turning 90, Scott just demonstrated that he’s still totally capable of making a damn good summer hit. I’m sort of astonished by Scott’s filmmaking here, especially at this stage of his life. But while I loved the things Scott does with this movie, I can’t run from the fact that the The Dog Stars suffers from one massive flaw, and that’s Jacob Elordi. He’s miscast in this film & fails to deliver a strong leading man performance. In other words, Elordi holds The Dog Stars back from being a top tier Ridley Scott film. The plot here is extremely straightforward & I won’t spend much time going into detail on it. Elordi plays Hig, a pilot in Colorado who survived a flu pandemic & is now living in an abandoned airport with his dog Jasper & a batshit armed survivalist named Bangley (Josh Brolin - who is fucking excellent here, I can’t emphasize that enough & will touch on him more). The whole crux is that Hig is depressed with this post apocalyptic life, decides to leave his base with Bangley in search for something new, and eventually stumbles upon other survivalists - Cima (Margaret Qualley) and her father (Guy Pearce). Scott’s filmmaking is breathtaking. The shots of Hig flying throughout the mountains, the vast sweeping outdoor landscapes, and above all, the sequences shot at night, are all reminders that Scott is quite literally one of Cinema’s most accomplished directors. I didn’t like Napoleon nor did I like Gladiator II because I felt those movies were made 1) quickly and 2) at a scale that was too big for its own good. The Dog Stars doesn’t fall into any of those traps. This is a far more intimate film from Scott & allows him to paint broadly across the canvas. On at least two occasions in this film, especially in the back half, Scott gives us jaw-dropping action. If there’s one criticism I have specific to Scott, it’s that I wish he would’ve found a way to include more action & more combat. Those sequences - especially with Brolin- are outstanding. Speaking of Brolin, this entire cast (outside of Elordi) crushes it. Margaret Qualley, Guy Pearce, Josh Brolin & Allison Janney could not be better in this movie. In particular, Brolin. Every moment he’s on screen is electric & he’s given a character with both a comedic & violent edge. Then there’s Qualley & Pearce, who play a daughter-father combo beautifully. I thought Qualley gave such a vulnerable, measured performance. But all of that leads into my chief complaint & the reason I can’t give this film more credit and that’s Jacob Elordi. The entire cast acts circles around him. Moments in which Elordi shares dialogue with Brolin/Pearce/Qualley are all noticeable in that Elordi can’t really hold his own. A huge part of this film hinges on spending time with Elordi’s character - he’s our eyes and ears as an audience. And quite frankly, everything he does feels either forced or incredibly boring. His line delivery took me out of the film, his mouth was basically open the entire movie, and everything about his performance felt one dimensional. And that one dimensional performance is magnified when put next to nuanced performances like Brolin, Pearce or Qualley. I think Elordi is a good actor, I’m not here to throw the baby out with the bath water. But it’s undeniable that he’s this film’s biggest weakness & he absolutely holds this back from being a Ridley Scott classic. If you’re able to ignore Jacob Elordi & embrace Ridley Scott, I think you’ll enjoy The Dog Stars as much as I enjoyed it. I don’t want Ridley Scott to ever stop making films. I don’t want to live in a world where a new Ridley Scott film isn’t on the horizon. Just seeing his name in the opening credits felt…right. And to give us a film that actually hits? Cinema is, was, and always will be Ridley Scott.
- Aug 28, 20263.2x their median
Clue is on my weekend rewatch list because I need some Tim Curry in my life. I love this film for two reasons: the cast & the script. The dialogue is hilarious, razor-sharp and holds up exceptionally well decades after the film’s release. This movie still makes me laugh. Not only that, ensembles don’t really get better than this? Curry leads a group of actors that includes Madeline Kahn, Christopher Lloyd, Martin Mull, and Michael McKean. Get me to the weekend already.
- Aug 28, 20262.9x their median
A Generational Artist https://t.co/2S6aNe2GYV
- Aug 29, 20262.7x their median
The Warriors captured a moment in New York City’s history that made NYC seem like the most 1) dangerous place on Earth 2) the most fun place on Earth. A gritty, stylized story about underground subculture, The Warriors is a story that couldn’t be made today. Director Walter Hill knew how to execute his creative vision - damn good director, damn good movie.
- Aug 29, 20262.4x their median
Josh Brolin was so, so good in The Dog Stars. He’s been on an excellent run as of late that includes quality performances in Weapons, The Running Man & Knives Out. I’ve been hooked on Brolin since his memorable work in No Country for Old Men, which I think is the case for most people. Brolin makes every film better always.
- Aug 29, 20262.3x their median
Nominated for the Academy Award for: Best Picture Best Supporting Actress (Winner) Best Original Screenplay (Winner) Best Film Editing Best Score https://t.co/rSHU54VcDN
- Aug 28, 20262.0x their median
The fact that Coyote vs Acme (🌟🌟🌟🌟) is as great as it is and still almost got shelved is an outright abomination. Shelving bad art for tax purposes is still wrong and anti-consumer, but shelving great art for tax purposes is downright unforgivable. This fantastically written and hysterical story is so anti-corporation that the now-famous story of its unlikely release means it will go down in history as one of the most meta-films ever created. It’s a movie that is so fed up with corporate crap that its characters have largely resigned themselves to give up and deal with it, losing that drive to fight the power rather than acquiesce to it. It’s a movie for our times. The story here uses decades of Looney Tunes slapstick as a jumping off point for one of Cinema’s classic movie formats - a courtroom drama. In his lifelong quest to capture the elusive Road Runner, the hard-done-to Wile E. Coyote has been blown up, torn apart, and obliterated one time too many by faulty Acme-brand gadgets and gizmos. He’s had enough and decides to take his case against the Acme company to court. He partners with downbeat personal injury attorney Kevin Avery (Will Forte) who suddenly finds himself thrust into a lawsuit against a corporation that has permeated every facet of everyday life, led by their lead counsel Buddy Crane (John Cena) and CEO Foghorn Leghorn. This movie is firing on all cylinders, including a razor sharp script full of hysterical visual gags and clever jokes at every turn. There’s also a pretty sizable cast of characters, both real and animated, who all help service the plot and keep things moving as the story unravels. I have to give a special shoutout to Will Forte and John Cena, who are playing opposite ends of the spectrum in terms of performing against a cast of cartoons. Forte plays the role entirely straight, arguing, reasoning, and debating with his 2-D counterparts as if he was starring in an Oscar worthy drama. As our point of reference, it works perfectly, as he leaves the caricature work to the caricatures. He never breaks. Whereas Cena plays up the villain role so well that he may as well be a cartoon himself. Watching him strangle his Tweetie Bird informant for information is a highlight. These two could not be better. The real star here is the animated universe that operates in tandem with the real world. The animation work here is perfect and seamless, and the only time your suspension of disbelief breaks is when you’re awestruck thinking “how did they animate this?” The humor of the world blends together so well, as multiple times the humans just have to acknowledge the cartoon insanity as a pretty mundane part of everyday life. It’s all crafted with such care and makes for a really immersive experience. Now, the movie is not perfect, as the balance of humans to cartoons is occasionally lopsided, and the ending takes two big swings - one an emotional homerun, the other a plot-resolving swing and a miss. But the real-life ending to this years long, near tax-write off is more satisfying than anything they could have put on screen. Coyote vs Acme is the underdog story of the year - maybe the decade - and nothing would make me happier than to see this movie succeed on all fronts. I want it to make a ton of money. I want the great reviews to keep rolling in. I want it to get the sequel the ending so badly demands! And above all, I want this story that almost wound up on the shelf to be front and center where it belongs. That’s all, folks.
- Aug 28, 20261.9x their median
Get Your Ass to the Movies This Weekend https://t.co/PKxIbpEueE
Ranked by total interactions across everything we have tracked for this account, which is a longer history than the 30-day window the rates above use. The multiple compares each post to this account's own median.
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Reading these numbers
A typical post picks up 266 interactions against 438K followers, an engagement rate of 0.061%. Measured over 41 original posts, its engagement rate beats 59% of 3,862 tracked accounts of a similar size, which puts it in the middle of its size range rather than at either end. Posts are seen about 19K times each, and 1.40% of those impressions turn into an interaction. That is about 4.35% of the follower count, which is the gap between an audience on paper and an audience in a timeline. Posting runs at about 1.8 posts a day over the last 30 days, though only 13% of days saw any activity at all. Most posts go out around 03:00 UTC, and Saturday is the busiest day of the week. Of the 41 posts sampled, 100% carry an image or video. The account's strongest tracked post pulled 1.9K interactions, about 7.1x its own typical post.
- What is Cinema Tweets's engagement rate on X?
- Cinema Tweets (@CinemaTweets1) has an engagement rate of 0.061%, based on the median interactions across 41 original posts from the last 30 days against 438,299 followers. Replies, reposts and quote-posts of other people are excluded from that sample.
- Is that a good engagement rate?
- At 0.061%, Cinema Tweets sits above the 25th percentile of the 37,350 accounts in this comparison. Those comparison accounts are all large ones, because our scanning cadence is weighted towards big accounts, so this is a ranking among peers of similar scale rather than a ranking across X.
- Does @CinemaTweets1 have real engagement?
- Its engagement rate beats 59% of the tracked X accounts closest to it in follower count (3,862 accounts), which puts it in the middle of its size range group. Ranking inside a size band matters because engagement rate falls as accounts grow, so a raw rate would mostly re-measure the follower count. It is a starting point for a look at follower quality, not a verdict on it.
- When does @CinemaTweets1 post?
- Most posts go out around 03:00 UTC, and Saturday is its busiest day, at roughly 1.8 posts per day across the measured window.