Overall favourites, roughly in order:
No. 32 in c, Op. 111
No. 29 in Bb, Op. 106 (but can be absolutely ruined by a bad performance)
No. 31 in Ab, Op. 110
No. 30 in E, Op. 109
No. 23 in f, Op. 57
No. 15 in D, Op. 28
No. 17 in d, Op. 31/2
No. 4 in Eb, Op. 7, despite some weak moments
No. 7 in D, Op. 10/3
No. 18 in Eb, Op. 31/3 (also very easy to ruin)
No. 6 in F, Op. 10/2, but please take the repeat in the last movement >.>
Things I don't like that much:
first movement of No. 22 in F, Op. 54 (just sort of awkward)
first movement of No. 13 in Eb, Op. 27/1 (very silly)
second movement of No. 1 in f, Op. 2/1 (sounds like a second-rate Mozart imitation, what is it doing in this otherwise magnificent sonata)
first movements of No. 3 in C, Op. 2/3, and No. 11 in Bb, Op. 22 (mostly all the long passages of random arpeggios in the development sections....)
slow movement of No. 16 in G, Op. 31/1 (ok, very funny, great joke. WE GET IT. please be 4 minutes shorter)
last movement of No. 2 in A, Op. 2/2 (this movement was going so well and then he just... couldn't end it?... seriously, do we need to go to Bb... then back to A... then back to the A minor staccato episode... then have the ritornello again.... like, learn to write a coda Ludwig. come on)
very end of No. 27 in e, Op. 90 (ok, a high quality performance can actually make this work, but again it feels like Beethoven just fundamentally doesn't know how to end pieces of a relaxed and graceful character. which isn't true!! look at the end of Op. 7, which is absolutely perfect and even a little heartbreaking. that's how it should have been done)
the canon in the march of No. 28 in A, Op. 101 (it's hard to believe someone could write counterpoint this clumsy on purpose but apparently Beethoven spent ages sketching it...)