When a short-tempered U.S. Marshal with a longstanding grudge against sex offenders humiliates his spiteful new boss, he reluctantly agrees to protect a sadistic child molester standing trial in a hostile family suburb to save his illustrious career.

I've actually committed to a different version of the story after extensive rewrites of the original logline which was initially a Western about a reluctant US Marshal from New York sent to capture a murderous pedophile alive. The journey of creating a story never fails to amaze.

A newer draft of the logline reads as:

A short-tempered U.S. Marshal harboring a fierce grudge against sex offenders reluctantly agrees to protect a rebellious teenager standing trial for rape and his overprotective single mother when they receive death threats in a hostile suburb.

From your initial logline, I have inferred that the movie is an action movie rather than an introspective one room or psychological thriller.

Richiev is right, normally in that kind of movie the two protagonists are on a physical journey that mimic their personal journey. At the end they usually come to a new found respect or at least mutual understanding.

An action movie without the journey (gauntlet) unless the movie is a siege movie (instead of Assault on precinct 13 assault on suburban safe house), I can't see how you are going to add tension.

From your initial description, I would imagine that the U.S. Marshallbe may have been affected by child molestation. Either directly as a victim or indirectly by being in contact with a victim (wife, brother best friend, daughter living step dad) or a perpetrator (dad, police partner, ...).

if the movie is a confrontation between, the bad and the mob, then bad needs to get his comeuppance at the end. The vindictive boss is not really important for the grand scheme of things. He is just a plot device, So it does not need to be in the Logline.

When he is tasked to protect a repugnant child molester, a psychologically wounded U.S Marshall must ally with his charge to save themselves from a mob surrounding their suburban safe house with the intend of killing them all.

Child molestation is so gross that I am still wondering how you resolve that moral dilemma. I can only see working mutual respect if we finally discover the accused is innocent, or he did not know she/he was under age, or was genuinely in love (some US states have the Romeo and Juliet law to avoid 17 to 21 years sleeping with their 15 to 18 girlfriend/boyfriend be labelled paedophile for the rest of their life). But then it contradict your description of sadistic child molester. The other solution would be for the bad buy to get his comeuppance right at the end. Either be killed, or his escape attempt is thwarted.

I would point out, most movies of this nature have the two protagonists traveling to a destination. Just curious if this is the case with your script?