Knappenberger and the web activists who participate in the film are angry - they're angry at the invasion of the Internet by the law- courts, and they're angry at how Swartz was treated and how that ended up. When the filmmakers are so passionate about a subject, there's an inevitable loss of objectivity. That's not a huge problem for The Internet's Own Boy, because the film is primarily about the tragedy of Swartz's brief life, but the bigger issues are handled in a somewhat one-sided manner. It's another reason why the film would have perhaps benefited from sticking closer to Swartz, and seeing his life as sufficient narrative. Of course, that would've meant avoiding touching upon the very subjects that Swartz spent his life arguing for, and perhaps that would've been an injustice to his memory.
Fittingly, for a film about internet pirates and which was funded through crowd-funding, The Internet's Own Boy is now available to view (legally) on YouTube. That's actually the best way to view it: it's a film which belongs as part of the online landscape, and the YouTube viewer, which is so often a hindrance to proper viewing of videos, is a weirdly appropriate frame for the film. Modern film is such a commercialised business, that the act of undermining that seems like every bit as intentional a testament to Swartz's vision as the film itself. Harnessed together, The Internet's Own Boy tells the story of the dangers and power of the internet, and it becomes a compelling parable for the digital age.