These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Badass Decay: Bond is supposed to be a very good spy and secret agent. Yet on this movie it is quite jarring how EVERYBODY seems to know what he is, what's he's up to, and what he's doing. Not only that, but they're following and tailing him at almost EVERY SINGLE INSTANT in the whole film, to the point he gets betrayed twice AND trapped three times.
Part of this is explained by Solitaire's tarot reading giving the bad guys a heads up. After that, Mr. Big is well connected.
Department of Redundancy Department: The line in the title theme by Paul McCartney that goes: "But if this ever-changing world in which we live in...". On the other hand, it could also be "...in which we're living...".
Ensemble Darkhorse: Baron Samedi is probably the most well-remembered character from the film.
Fair for Its Day: For all the cringeworthy portayals of African-Americans as jive-talking superstitious criminals, Bond's two most competent allies, Quarell and Strutter, are both African-American, and the bigoted sheriff J.W. Pepper is portrayed as and openly referred to as an idiot.
Genius Bonus: At the close of the pre-credits sequence, to ratchet up the tension of the agent's death, the musical score quotes the Huge Chord from The Beatles' "A Day In The Life". The film's composer was George Martin.
Special Effect Failure: The Big Bad's death scene. There were limits on how realistic they could have possibly made that sequence without outraging the censors at the time. Still, it just goes to show what a poor idea that method of dispatch really was.
It's quite obvious that the actor playing Tee-Hee is wearing a prop claw (you can see his wrist bending the sleeves, even though it's supposed to be solid steel).
Averted, surprisingly, on Bond's escape after being left to be eaten by crocodiles in a very small island. Instead of using fake props, those were actually real crocodiles. That ain't Moore or even a proper stunt double running on top of them. That's the owner of the ranch, Kananga himself.
The fact that all but two black people in America (Agent Strutter and Quarrel Jr.) are evil and somehow in league with Kananga. Including not only everyone who lives in San Monique, but apparently also the entire black population of Harlem and New Orleans.
Bond tricking Solitaire into sleeping with him with a trick Tarot deck is up there with his blackmailing a woman into sex in Thunderball.
Solitaire already knew they'd be lovers due to her clairvoyance. Still, it was a jackass move by Bond. Which, of course, is the point of being a 00. You do jackass things to get the mission done.
Fair for Its Day: Live and Let Die was Ian Fleming's second 007 novel (1954) - while the book's narrative and the black dialect Bond hears in Harlem read pretty cringe-worthy, he observes they're interested in the same things as everyone else, and is glad "they're not genteel about it". Mister Big himself notes that blacks have made major contributions to many human endeavors, and aims to be the first black super-criminal. Also, during Bond's initial briefing, even M (a hidebound reactionary even by the standards of the time) says that Mr. Big or someone like him was inevitable.
"The Negro races are just beginning to throw up geniuses in all the professions-scientists, doctors, writers. It's about time they turned out a great criminal. After all, there are 250,000,000 of them in the world. Nearly a third of the white population. They've got plenty of brains and ability and guts. And now Moscow's taught one of them the technique."
Unfortunate Implications: All the inhabitants of Harlem are depicted as very superstitious, which gives Mr. Big control over them.