There are a lot of things TWINE attempts that are worthy. It references OHMSS (the ski chase and its music, Elektra’s outfit, “Have you ever lost anyone close to you?”) in a way to underscore Bond falling for her. It also throws in a milder version of chair torture which brings to mind Vesper’s betrayal for those that read the books. It also makes it personal for M, something which Skyfall was to repeat with greater effect. And speaking of SF, MI6 is blown up, M is attacked, Bond is injured and unable/unwilling to return to his duties at the beginning of the film. But whereas Skyfall made M the “good Bond woman” in a way, TWINE played it safe with the backup Bond girl.
There are many other tropisms TWINE gives in to to remain a Bond film–the bloated action in the PTS, double entendre girl names, Q/R scenes, casting of bad actress in the lead. These failures perhaps led EON to take bolder risks with CR, SF, and even QoS (Bond doesn’t end up with the girl) in the years to come. So TWINE in a way sets the table for the Craig era.
It also has a funny sense of humor (“Is nothing in here straight?” Zukovsky muses at his caviar factory before opening the door on Christmas Jones, the phallic imagery of the logs being cut as Bond drives into Kazhakstan, as well as the plutonium rods in the submarine finale.) But overall this makes for a schizophrenic tone throughout the film (unlike the two distinct bipolar halves of DAD.) The set-pieces are inserted without any segue or flow (we need a casino scene, a ski chase, etc.) Plus it has to explain everything in exposition–nuclear technobabble, Stockholm syndrome, Brosnan’s dialogue about “I feel nothing.” We already know Bond can’t kill in cold blood! This dialog is a sign of bad writing. At best, it’s a rough draft for Skyfall.
The World Is Not Enough would have been better had it either taken itself more seriously, or not taken itself seriously at all.