“The Yeti” is exactly what its simple and straightforward title suggests. It’s a proudly old-fashioned creature feature that calls back to the kind of late-night monster B-movies that once frequented drive-ins and syndicated horror-themed television shows. In that way, “The Yeti” has enough to satisfy those like me who grew up relishing those unabashed genre flicks of old. But even I found myself wanting the film to push its clear genre affections further.

“The Yeti” is co-written and co-directed by Gene Gallerano and William Pisciotta who put together a solid setup. Set in 1947, the United States is shocked by the mysterious disappearance of prominent oil tycoon Merriell Sunday Sr. (Corbin Bernsen), accomplished explorer Hollis Bannister (William Sadler), and their entire crew while on an expedition in the Alaskan Territory. Desperate for answers, Merriell Sunday Jr (Eric Nelsen) forms and funds a rescue team to accompany him to Alaska where he hopes to discover what happened to his father.

Among those approached to join Merriell Jr’s team is Ellie Bannister (Brittany Allen), a cartographer and navigator who happens to be the missing Hollis Bannister’s daughter. Merriell wants Ellie to lead their search but she turns him down, believing this to be another one of her estranged father’s irresponsible antics. But there is enough cause for suspicion that she eventually agrees.

Joining Merriell and Ellie is a doctor named Parker (Elizabeth Cappuccino), a sensitive communications expert named Booker (Jim Cummings), a tormented and permanently scarred war veteran, Coates (Linc Hand), Margaret (Christina Bennett Lind), whose twin sister was on the lost expedition, and an overly chatty explosives expert who goes by Dynamite Dan (Gene Gallerano).

The collage of characters range from slightly interesting to barely registering to full-blown caricatures. Gallerano and Pisciotta attempt to add weight to them through campfire conversations and banter. None of it builds much of an emotional connection with the audience, but it does feed into the film’s interest in family dynamics which continually resurfaces in a number of unexpected ways.

But truthfully, the characters are mostly there to push the story forward and to keep us wondering who is going to die next once the eponymous creature is revealed. And the movie takes its time fully revealing the Yeti. Gallerano and Pisciotta begin their tease with distant roars, crunching footsteps, and ominous silhouettes, with most of the early kills taking place in the shadows. When we do finally see the beast, it is a nostalgic delight – a well-designed full body suit without a speck of digital enhancement.

The environments don’t fare quite as well. The Alaskan wilderness blanketed in snow makes for a great setting. But the noticeably tight budget constraints keeps it from being as unforgiving as it could have been. As for the storytelling, it can be a little clumsy. Some deaths are channeled way too early, and it’s not always easy keeping up with who is where. Yet at its core, “The Yeti” delivers on its promise. It’s pulpy and gory entertainment that only gets sideways when it tries to be more.

VERDICT – 3 STARS