Safe House is fundamentally another Tony Scott-Denzel Washington movie, except that Scott’s been replaced by Daniel Espinosa, a Chilean-born Swede who’s making his English language debut. Unfortunately for our eyeballs Espinosa shares Scott’s affinity for nauseatingly saturated colour schemes and frenzied, migraine-inducing editing and camerawork - all those things that make Scott-at-his-worst such a chore to endure. David Guggenheim’s script contains nary a surprise (hold the phone, the government is corrupt!) and is so transparently cynical of the CIA that its third act “twist” is eye-rollingly obvious from the get-go. This doesn’t leave the film with much intrigue: the South African locale simply serves as a dumping ground for its joyless barrage of unwatchably executed car chases, shootouts and fights, while the jaundiced skin tones make you feel like you’re watching a movie about a viral outbreak.