Back when “Confession” was released, it took the world by storm. A spirited little indie effort featuring talented newcomer Fay Turney, it had all the ingredients of an instant classic - drama, intrigue, a plucky and attractive cast, and so many artfully unanswered questions.

But most of all, it was a showcase for Ms. Turney. It was a bravura performance - her strength, that knowing half-smile, even her impishly sexy, deadpan delivery when she referred to herself as “leading seaman.” It’s safe to say we all fell a little bit in love with Ms. Turney (the phrase “young Meryl Streep” is much overused, but undeniably appropriate here). We discussed her and her compatriots’ story around the water-coolers. We wondered - Was she coaxed or even forced to make those statements? Did she want to wear that headscarf? Who exactly were these unseen captors (the fact that you never see them creates a delightfully creepy atmosphere). How long has she been a smoker? On almost every level, “Confession” was a smash.

Enter “Confession 2.”

I’m sorry to report that “Confession 2″ has little of the original’s charm, and it also completely fails to break new ground.

This time around, the focus is on Nathan Thomas Summers, a fresh-faced and likable presence, and Ms. Turney has been relegated to a supporting role. Fans will be disappointed to learn that she comes out of this sequel without a single line of dialog.

This time around, the production values have been increased dramatically. The first film was notable for its gritty production, clever cutaways, and single-camera intensity. But “Confession 2″ actually turns three cameras on our captured sailors, which makes for a more professional, slick feel but sacrifices some of the visceral impact of its predecessor. I suppose that’s a good choice, lest the film be accused of being too much like the original.

But that’s the problem, actually - “Confession 2″ is too much like the first film. None of our questions are answered, the story barely moves forward at all. And Mr. Summers’ citation of a 2004 incident seems forced and a bit too writerly, and we don’t quite buy that these are his words. In the much earthier original, remember, Ms. Turney focused on the good treatment and food provided by her abductors, and it all seemed so real and immediate. Mr. Summers’ attempt to bring larger political history into the equation is gamely delivered, but it hints that the writers may have forgotten what made the first film such a success.

All in all, “Confession 2.” could have been worse, and I’m sure this review won’t stop fans from lining up to see “Confession 3″ (due out some time early next week). But if the franchise is to survive, it needs to focus less on camera work and politics, and find its heart. Note to the director: Look no further than your original star.