Professor Bruce Lawrence from Duke University wrote an incisive piece in Religion Dispatches that included the following:
Beyond all the issues that have been discussed, debated, and fine-tuned since the 9/11/12 tragedy in Benghazi, one central point has been missed, and it needs to be made again and again and again: expect the unexpected, look for the unrelated to be connected, then projected for the interest of dissident groups savvy about the nature of the modern world and, above all, media ‘neutrality.’ There are no topics so hateful or obscene that they’re debarred from the Internet. They travel virally in a world that welcomes them but cannot monitor either their content or their impact. What al-Qaeda did today, other ill-wishers or polemicists or terrorists can, and will likely, do tomorrow. This is the greatest, and sobering, lesson of the death and destruction that came out of the 9/11/12 debacle. Alas, it is a part of our brave new world of endless information and mindless usage of that information. Gertrude Himmelfarb once observed: “Like postmodernism, the Internet does not distinguish between the true and the false, the important and the trivial, the enduring and the ephemeral.”
... and he continues ...
... the still young but perilous 21st century. It is a century, our century, that belongs neither to the USA nor to China, neither to imperialists nor terrorists, but to the CyberKingdom and to those who grasp the endless good and evil wrought by the Information Age.
 Sarah Posner has this to say about the movie in Religion Dispatches.
... if whoever made the film actually spent $5 million on it, the expenditure hardly shows in the content, acting, or production values. Amateurish doesn't even begin to describe the 13-minute trailer on YouTube.
She provides further updates on the confused and confusing identity of the film's maker.
 Haroon Mughal asks what all the fuss is about:
While many Muslims (especially Sunnis) find portrayals of the Prophet Muhammad, and other sacred religious figures (Jesus, Mary, Moses, etc.) to be offensive in and of themselves, this doesn’t quite explain the degree of offense Muslims feel when the Prophet Muhammad is mocked. As was the case in “The Innocence of Muslims,” that film that is supposed to offend me but, based on the 14-minute trailer, only embarrasses me… and leads me to ask two desperate questions: How is it that a $5 million budget can buy you so little? And, who produces a 14-minute trailer? That’s just offensive.
He partially answers the question from a religious perspective.
To mock Muhammad, then, is to mock what Muslims aspire to be, throughout their lives. Muhammad is not a divine or infallible figure in Islam, but he is the “mercy to all the worlds,” the best of God’s creation. As such, it deserves stressing that the reaction of a minority of Muslims to offensive portrayals of the Prophet, while inseparable from the present political climate, still does a massive and embarrassing disservice to Muhammad’s image—their actions are far more offensive than the efforts of silly filmmakers with unintentionally hilarious scripts. I recall learning in a conservative Sunday school how, time and again, Muhammad would forgive his enemies, and even inquire after them when they didn’t show up to mock him, abuse him, or even dump their garbage on him.