While I completely agree about the different nature of movies leading to different types of casts and therefore the possibiltiy of dialogue, I think you are perhaps underestimating the importance of the style of the narrative.
I think you're clearly overestimating it and/or assuming that women have less of a practical place in linear, event-focused stories.
Many narratives are simply concerned with communicating a single element of the story; this is what I meant by a protagonist focused narrative, almost the entirety of dialogue is either between the protagonist and someone else, or about the protagonist (and either the events that cause the protagonist to do something or the repercussions thereof) an example would be something like dark night rises I suppose. While I have never seen Hunger games (it didnt grab my attention and I seldom watch many movies in the first place) from what I understand the female lead while the main driving force is paired with a male lead as a lesser protagonist, though I do not know what sorts of communications take place in the movie in dialogues male to male and female to female, I would point out that it seems to have a vastly dissimilar narrative style than Dark Knight Rises or something similar, in that a central theme appears to be on emotional impacts of the game on both the players and it's viewers, what limited emotional considerations are given in DKR are far more introspective and broody and the manifestations of those in terms of violent actions.
Actually Hunger Games the movie is probably just as focused or even more focused on the main character than Dark Knight Rises is focused on Batman, since Dark Knight Rises independetly looks at the events of that that young cop, Commissioner Gordon, Selina Kyle, and Bane, all rather thoroughly, and yet generally fails the test. (Two women speak once, about a man.)
In Hunger Games the movie, it follows the main character for the most part but also shows the president talking with the game operator (males) about the Hunger Games, shows a tv personality talking with the game operator (males) and shows the secondary male protagonist talking with another character (males) about how to survive the games.
And if anything, you're proving my point. Movies with central female characters
still have guys talking to other guys about stuff, and develop sufficiently broad characters of both genders, which would be expected in any sufficiently long and sufficiently complex story.
I must say that while I agree that the assumption about blockbusters might be true an extent (though perhaps a lesser extent than you seem to imply)
Keep in mind that sufficiently large numbers of women see these movies
in spite of the woefully imbalanced representation of women.
How many guys happily watch movies where no two men ever speak to each other?
So see? These adventurous, complex, interesting, or blockbuster movies appeal to men and women. Given that women already watch them in significant numbers, imagine how many more women would be interested if there was balanced female representation in the movies rather them mostly being dude-fests.
I literally had a co-worker complain once that women don't like Star Wars. (Hint: Having only three named female characters in an extremely broad and imaginative world of three movies isn't helping.)
I fundamentally believe that magical and technological settings are inherently more capable of providing an environment in which gender differences (in terms of a character's potential impact on the narrative) in comparison to many others settings (such as period peices for example).
At the very least, it's not a limiting factor.
Certain themes on the other hand seem to be targetted at different audiences, examining multifaceted emotional aspects, character development and interwoven subplot elements seems to be interhently less emphasised in those movies targetted towards males, on the other hand they seem to often play a far more significant role in movies targetted towards either females or mixed audiences. I do not believe this is coincidental, instead it is far more likely to be the case that film writers and development studios tend to perceieve that these are styles that are (un)appealling to a given demographic.
Why would sweeping adventure across the galaxy, across the oceans, and across a magical fictionalized medieval earth be uninteresting to women?
See the previous statements about women going to watch these movies despite the male dominance of most of them. It's a self-fulfilling prophecy; if a movie has a setting and a story that is otherwise appealing to a mixed audience but then doesn't even include one instance of two women talking to each other and has countless instances of men talking with each other, then it's not a surprise that men are going to watch it more.