Exit Protocol opens as an independent action-thriller from director Shane Dax Taylor and drops the viewer into a stylized circuit of professional assassins. The story follows Sam Hayden (Scott Martin), an elite operative who calls himself a “killer of killers.” His specialty is eliminating hitmen who try to walk away from the job.
Hayden’s assignment targets Charles Managold (Dolph Lundgren), a legendary figure whose code falters after he falls for his intended mark, Danique (Charlotte Kirk). The pursuit breaks apart when Hayden fails to take Managold out, which forces a temporary alliance. They soon face fresh predators, including the precise Isaac (Michael Jai White) and the volatile Wicked (Stephanie Beran). The film sets a high-stakes framework built on shifting loyalties and constant survival tests within a familiar subgenre arena.
The Mechanics of the Contract
Writer Chad Law tackles the “assassin of assassins” idea by stacking the plot with continuous complications. The premise exists squarely inside cinema logic: a hitman who hunts hitmen creates conflict that stays inside genre rules while letting rival codes collide. The structure moves at a clipped pace across a brief runtime, asking the audience to track frequent flips in allegiance. The speed becomes the key virtue and leaves little room for filler.
The script aims to sharpen its anti-heroes through dialogue. It offers spurts of “salty” or “clever” banter, though some lines land awkwardly. Sam Hayden’s arc is framed by voice-over that repeatedly labels him “the best.” The device clarifies his cynical wit and sets a tone, yet repetition can dull the image of cool efficiency it tries to cement.
The plot fires off notable reversals, especially the turn involving Hayden’s partner, Nona (Lina Maya), which reorients the core dynamic. The machinery keeps the story moving, even as a few choices lean on convenience, with motives that wobble or adversaries escaping when capture seems possible. The film prizes propulsion, and the writing prioritizes momentum over tidy logic, which suits the design even when credibility stretches.
Executing the Action
Shane Dax Taylor’s staging commits to relentless action while working within an independent budget. The approach favors hard-hitting firefights and bruising hand-to-hand sequences over grand spectacle. The texture sometimes nods to an “80’s retro vibe,” with practical stunt work giving the violence weight. One stretch stands out: a final, bruising, tightly choreographed fight that pits Martin against a rival named Bashkim. The stripped-down brawl reads as raw and direct.
The New Mexico locations carry impact. Cinematographer Mark Rutledge shapes the mood with shifts in saturation that suit each beat and finds tension even in broad daylight. Editing hiccups appear, with choppy jump cuts used to goose speed, yet Taylor maintains a recognizable, clean approach to indie action.
The production works under tight limits, including a short schedule, and the team still delivers rush and genre satisfactions. The film treats duration and resources as constraints to be engineered around, then answers with punchy staging and clear geography.
The Weight of the Players
The ensemble steadies the film by pairing established action fixtures with the lead’s workload. Scott Martin shoulders Sam Hayden’s physical demands. His line delivery can read as monotone, yet his execution across the action beats signals a growing screen fighter. Dolph Lundgren’s Charles Managold supplies familiar command in combat and reveals a gentler, exposed side in quieter scenes, which gives his weathered figure a touch of softness.
Michael Jai White’s Isaac arrives with charismatic swagger and a memorable presence. He stretches his dramatic and verbal range opposite Martin and Lundgren, even though the role does not lean on the martial arts showcase he is known for.
Stephanie Beran, as Wicked, connects with Martin and holds ground in tactical set pieces, making a mark with distinctive dual weapons. Charlotte Kirk’s Danique plays the dramatic hinge, an emotional counterweight that offsets the heavy charge of male bravado. Lina Maya’s Nona brings the necessary jolt that shifts momentum and reframes loyalties.
Exit Protocol treats story construction as a momentum engine. Voice-over crowns a self-mythologizing lead, reversals churn at regular intervals, and the pace keeps attention locked on the next move. Performers meet that design by supplying presence calibrated to action-first storytelling. The film’s choices favor velocity, clean staging, and a lived-in world of codes and consequences, built with limited means and a clear sense of what this subgenre promises.
Exit Protocol is an independent action-thriller set for a limited theatrical and digital/on-demand release on November 7, 2025, distributed by Saban Films. The movie follows Sam Hayden, a specialist assassin who hunts other killers attempting to retire. When he fails to eliminate his legendary predecessor, Charles Managold, the two are forced to partner up to survive the killers now targeting them both. The film stars action veterans Dolph Lundgren and Michael Jai White alongside lead Scott Martin.
Credits
Title: Exit Protocol
Distributor: Saban Films
Release date: November 7, 2025
Rating: R
Running time: 84 minutes
Director: Shane Dax Taylor
Writers: Chad Law
Producers and Executive Producers: Scott Martin, Jack Sheehan, Michael Slifkin, Matthew Helderman, Luke Taylor, Grady Craig
Cast: Scott Martin, Dolph Lundgren, Michael Jai White, Charlotte Kirk, Lina Maya, Stephanie Beran, Aaron McPherson, J.B. Yowell
Director of Photography (Cinematographer): Mark Rutledge
The Review
Exit Protocol
The film delivers reliable action tailored for the independent action genre enthusiast. It moves with a remarkable speed, ensuring continuous energy across its brief runtime. The premise of quickly shifting alliances provides consistent momentum and surprising developments. While the core execution occasionally struggles with the lead's monotonous narration and some lapses in narrative logic, the picture succeeds in leveraging its supporting veterans and practical action sequences. It satisfies the expectations of viewers who appreciate focused, high-caliber thrills achieved despite budgetary limitations.
PROS
- Fast, efficient pacing that avoids filler (85 minutes).
- Unrelenting, grounded action sequences and effective practical stunt work.
- Strong, expertly choreographed final fight sequence.
- Charismatic and impactful supporting performances from action veterans.
- The screenplay introduces genuine and consequential plot shifts.
CONS
- Inconsistent lead performance and overly repetitive voice-over narration.
- Some plot conveniences and gaps in character logic.
- Occasional rough editing, including noticeable jump cuts.
- Reliance on the well-worn "assassin who hunts assassins" trope.
