My two cents
Silver King said:
Just a suggestion based on the line you've presented:
"A depressed DEA agent finds himself between a mysterious childhood acquaintance and a young crime lord, and must unravel the connection before the other two destroy the life he's struggled to build."
OK, while this version is better than the original, to me it's still all very passive. A log line is there to hook a reader (editor, agent, producer or publisher) and this doesn't really grab me.
"Depressed"? Clinically or is he just got the Monday Morning Blues? As it is, it makes me think it's more the later, because the rest is kinda passive.
DEA Agent (insert name here)
finds himself caught in a maelstrom that could destroy everything in his life he's struggling to maintain. On one side, a mysterious friend reemerges from a childhood (insert name here)
would rather forget. On the otherside, a young crime-lord intent on make a reputation for himself whatever the cost. Now (insert name here)
faces the fight of his life, for his life.
OK, now mine is longer, and it is maybe a little too dramatic, but that at least makes me more interested. I moved everything to the present tense to add some dynamism. The last sentence adds chunk of imperative momentum.
I also changed
"acquaintance" to
"friend." Let's be honest, if you think back to your childhood, you had friends, the mean kids and other kids you don't really remember - you have work-place acquaintances. Plus this makes it more personal. The childhood he'd
rather forget might be completely wrong for the piece (obviously I haven't read it) but it again makes for a more personal hook and investment (what's the backstory here?). I basically upped the ante on everything.
Feel free to ignore any and all of the above.