Luther: Series 5 (TV) (2019; UK; Colour; 4 x 60m) **½ pr. Derek Ritchie; d. Jamie Payne; w. Neil Cross; ph. John Pardue; ed. Jamie Trevill. Cast: Idris Elba, Ruth Wilson, Dermot Crowley, Enzo Cilenti, Hermione Norris, Patrick Malahide, Michael Smiley, Wunmi Mosaku, Lewis Young, Sonita Henry, Luke Westlake, Lex Daniel, Michael Obiora, Katie Brayben, Paul McGann, Roberta Taylor, Anthony Howell, Nicholas Asbury. When a series of seemingly indiscriminate killings become ever more audacious Luther and new recruit DS Catherine Halliday are confounded by a tangle of leads and misdirection that appears designed to protect an untouchable corruption. Relentlessly grim and often strangely compelling, but ultimately too implausible to be fulfilling. When almost every major character, including the detective hunting them, seems to have psychological issues resulting in disturbingly violent actions there is little empathy to be invested in the characters and we are left with a feeling of being a voyeur to the sick and gruesome acts of murder. The detective work is also clumsily written with us having to accept Luther’s brilliant deductions as inexplicable foresight, rather than clever analysis. This is no police procedural. In all the key chase and heavy drama scenes, the rest of the populace of London also seem to strangely disappear, giving the whole thing a feeling of being acted out on some different plane as if we are observing an alternative reality. This may have been deliberate to intensify the drama, but adds to the false sense of environment. That’s perhaps as well as any police force that operated in the way this one does would be dragged across the coals. There are moments to enjoy amidst the horror – notably some moments of black humour and the performances of Cilente and Malahide in contrasting roles; the former as a psychotic killer and the latter an old-school gangster. The re-appearance of Wilson’s character (another psychotic killer), whilst resolving issues that hung over from previous stories, is actually a distraction from the more interesting elements of this story. Elba’s Luther is at the centre of everything and, for the most part, keeps you just about on his side, despite his increasingly bizarre behaviour, until the two plot strands come to a head. Ultimately though this is sensationalism TV that draws the viewer to it like a seedy newspaper headline. As such its widespread appeal, which perhaps it does not deserve, is guaranteed.