
The Hidden II
1993

2004
Director
Ted V. Mikels
Runtime
86 minutes
Average Rating
No ratings yetSynopsis
The existence of mankind hangs in the balance as two warring factions of aliens do battle in Mark of the Astro Zombies. The film begins with an invasion of Earth by aliens who plan to turn human beings into zombies. They gather high-level government officials and attempt to get from them certain knowledge and information they will need. A kind race of aliens lands on Earth and decides to try and stop the evil ones from succeeding with their plans.
Category Breakdown
The film focuses on a cosmic conflict between warring alien factions. There is no evidence of LGBTQ+ characters or critiques of heteronormativity within the narrative.
The plot centers on high-level government officials during a global struggle. The film lacks evidence of women demonstrating agency or subverting traditional masculine leadership roles.
The story revolves around the preservation of mankind during an invasion. It lacks specific indicators of non-white casting or the use of aliens as metaphors for ethnic diversity.
The narrative utilizes a standard good versus evil extraterrestrial framework. It follows conventional morality rather than deconstructing traditional institutions or embracing moral relativism.
The film employs the zombie trope as a sci-fi device. There is no evidence of characters with disabilities possessing meaningful agency or representation.
Strengths
Areas for Improvement
Score Reasoning
Mark of the Astro-Zombies functions as a traditional genre piece that prioritizes sci-fi tropes over social complexity. The narrative architecture focuses on an extraterrestrial invasion and the survival of mankind, which leaves little room for intersectional character development. The film adheres to conventional storytelling patterns, lacking any significant subversion of social hierarchies. It relies on established tropes, such as the zombie transformation, without providing nuanced representation for marginalized groups. Ultimately, the film lacks the intentionality required for progressive storytelling. It remains a straightforward cosmic conflict that avoids addressing gender, race, or identity through a meaningful lens.
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