A paranoid security consultant is contacted by an unknown woman claiming he?s the target of an organisation that makes assassinations look like accidents, however, as he struggles to discover why he?s been targeted, he?s confronted with conflicting stories of his own actions.

The more I read loglines on this website, the more I convinced myself that a “but” in the middle of a logline always fails to build a true one sentence crystal clear concept.

What plot point put the story in motion? The finding of the phone? The finding of the text? Or when he try to “expose the truth” (you need to tell exaclty how he try to expose the truth… telling the police? telling a journalist? telling his boss?)?
In the logline I like when there’s a clear plot point- of course in the movie there will be many reversal and reveals etc but a good logline have only one clear inciting event.
Then you state the goal/stakes and main conflict.

This kind of sentence “finds a phone that contains a set of numbers that appear to correlate to a series of” is extremely HEAVY. Ask yourself exactly what put the story in motion. Chose ONE clear simple element.

“when a?paranoid security consultant ?finds the phone numbers of seven terrorists, he become the main target of all of them and must…”
What he must DO? Not just escape. Not vaguely “find the truth”. Something precise, clear.

When dealing with paranoia and things that may be real or not, I think in a logline is better to present things as real. The fact they are not real or that we don’t really know until the end will be the pleasure of the movie.

Well theese are my thoughts, as a fan of the genre I appreciate your loglines which always try to find a new angle on the subject. I just think you should try to build something more solid and make simple what it’s complicate. Very hard!