“A soldier returns home with a desire to become a professional poker player, believing it is a safer lifestyle than fighting a war. So she thought until winning all the serial killer?s money.”

Most of this is just backstory. The inciting incident is seemingly what happens after the last sentence. What event takes place after the vet wins the serial killer’s money? What does the serial killer do? ?But rather than give vague descriptions you should inform the reader what happens as a result of this vet winning the money. Does the serial killer attempt to kill her? I don’t really have an example because I don’t have a grasp of any direction this story is going.

Just a note, a logline is a tool used to sell the concept to someone with enough money make it into a movie/television show. They don’t want vagueness, they want something that is descriptive but short that gives them an idea of what the story is going to be, what they will be spending money on. Going along with that it is important to have a strong hook. A hiook to a logline reader isn’t mission of information, like it may be for the people who watch it, it is something new and exciting that they think will make a lot of money. An example of a good hook is taking a popular concept and putting a spin on it, such as Edge of Tomorrow, which can be described as ‘Groundhog Day with aliens.’ So what is the hook in your story? What will make a producer want to read this script and consider putting money into it?

Fma:

There is a difference between hooking someone on your story and being completely vague. A hook is something that raises interest, whether it’s a twist on a well-trod trope, a cool new idea, or something. Simply being vague and withholding information is something completely different. Sure, Nir Shelter asked for more information, but that’s because a logline is used to sell a concept to someone who with more money than you to make it into a film. They don’t want to take a risk on something that’s vague and they don’t know what they’re buying.

Now, on your actual logline, I don’t see a strong hook. Maybe you’re trying to use Woody Allen as a hook, but for me, as someone who doesn’t really watch comedy often, there’s nothing here that makes me think this is even particularly funny. What events actually take place on screen? I don’t know, and a producer wouldn’t either.

For an example, let’s look at Groundhog Day. The hook of that story is a(at the time) unique situation used to create comedy and drama, which is a man reliving the same day over and over. More recently, Edge of Tomorrow used the same hook, and in a nutshell it’s “Groundhog Day with aliens.(and Tom Cruise and Emily Blunt)” That’s a hook, something people want to see.

So basically, in response to your comment to Nir Shelter: yes, the audience for a logline, a tool used to sell a concept, would like to know. And no, they would not be hooked, would not be rushing to make this because they would be too busy asking questions to clarify.
As others have pointed out, you’ve posted many loglines with similar problems and don’t seem to take suggestions or focus on any one premise to improve it. So I suggest you focus on a single logline and premise using feedback you’ve received.

I hope this helps.