Marcy Howard (Suzanne Somers), television news broadcaster under severe pressure from the new owner of her station to increase timeliness of her reporting, gives heed to an anonymous telephonic message advising her of a significant but unknown event that will be occurring the same evening at a local nightclub that will purportedly be of interest to her viewers, and she discovers more than one would wish to face. When Marcy enters the club, the "Blue Mood", she is aghast at what is before her: six freshly slain bodies, mowed down by automatic weapon fire but she is, as a result, first upon the scene of breaking news, to the keen delight of her employer, although since the killer is still at large, she is expected to follow up the story with revelations that will maintain the station's high ratings. Marcy, along with her closest co-worker, played by Ed Begley, Jr., decide to investigate the case independent of police by not telling detectives, supervised by her former husband, of the mysterious telephone tip but after she is physically attacked twice and additionally learns of her current husband's hidden past, it is apparent that a search for the suspect might very well lead the killer directly to her. From its opening action, the film is manipulative with ongoing efforts at creating suspense, the cameras and scoring being exercised in banal fashion when what is actually needed is a more developed as well as coherent scenario. The work is hamstrung by storyline predictability, with a favoured pleasure of audiences: discovering "who done it" barely at issue, while a television pedigree is obvious throughout, particularly with post-production editing. Somers, who also produces here, gives a strong performance, as does Michael Nouri as her spouse, each demonstrating skillful timing as does Scott Bryce who earns the acting laurels with his intense turn as a ravening media boss. Filming locations are in Los Angeles, including the northeast City districts of Eagle Rock and Highland Park, and there is an adequate budget, principally reflected in top-notch production design by Paul Peters, very well-detailed but unfortunately lacking communion with a foolish script teeming with bromides.
