Studios (with a few exceptions that are mostly TV adaptations and animated films) typically don’t make movies anymore, and heck, many of them don’t even own actual filming studios, or if they do, they’re used for more mundane purposes than main sets for feature pictures. Movies are made by production companies which may or may not receive some financial backing from a studio for pre-production and principal photography. Post-production costs are frequently absorbed by post-pro companies in exchange for points on the end, as it is really hard to budget for post-pro. Marketing and distribution costs generally come from the studio side, which also means that the studio may market a film in a completely different way and to a different audience than intended by the filmmakers. (See Sideways as an example of this.)
The cinema chains are just trying to make a buck, and frankly don’t give a fuck whether you enjoyed their selection of films or not. Given the kind of constraints they are under (many of them self-imposed as they’ve expanded and tried to modernize to compete with other chains, while at the same time cutting costs and corners), the only vote they look at is the one with a dead president’s face on it. They’re more than happy to fill cinema after cinema with utter dreck in order to show a profit this quarter. There are a few independent chains which market to the independent film crowd, like Landmark and Laemmle, but they’re as much at the mercy of distributors as you are.
The distributors are who you should direct your ire at, though again, they’re trying to make money in an increasingly unprofitable industry. Some distributors are joined at the hip with studios, but many are effectively independent, and it is a negotiation between studios and distributors as to how many prints get made and where they go with what priority. The cinemas are just the end user, and they’re lucky if they don’t just get an unmarked box with random reels that they have to splice together into a coherent film.
All of this should make direct-to-peer digital distribution completely appealing to the end consumer (even those who have a philosophical disagreement with digital formats), but of course, no one in the above loop wants that, as it will very rapidly winnow out the commercially and critically successful products from the vast bulk of crap, and quickly undermine the inflated price structure of both the cinematic and home distribution markets.