I'm another who loved TWINE at the very first, but have found it less and less appealing as time has gone on. It ranks rather lowly nowadays.
However, in the spirit of this thread, there are several diamonds here in the rough.
1) Gotta echo Judo's thoughts about the titles sequence. Daniel Kleinman has never disappointed me, and his oil-themed titles for TWINE are fantastic, absolutely top notch.
2) The idea for the villain and her background is quite an innovative one, I thought, worthy of Fleming. (There are ideas and there is execution. I'm praising the former.

) This woman who has had a near life-long ambition of taking back her "family's" empire from her father, and even manipulates a terrorist who kidnapped her into falling for her, and using him in a partnership to do the very thing she dreamed of (also using MI6 to do her dirty work...twice!). In theory, it's an amazing idea. Perhaps I should give old P&W a bit more credit, as the final product was (according to them) not nearly the same thing that they had first written.
3) There's just no way to dislike Robbie Coltrane. Zukovsky shines again! Though I preferred his scenes in Goldeneye, he still owns the scenes he's in. And he gets some of the best comedic moments in the franchise.
4) Again, going with the crowd, the torture chair. Truly a Flemingesque idea, if there ever were one. I was delighted to see a torture implement that looks as if it were invented
before the time of the movie, if one can imagine such a feat. The dialogue isn't the best by a long shot, but it's not too bad, either. Aside from some quips, it's the most Flemingesque scene in the film, hands-down.