Very nice overall, and the Allegro doesn't sound as though it needs much more work to eliminate most of the slight fumbles.
The trill at the end of bar 3, and in particular its Nachschlag, is stretching the bar so much that the beginning of bar 4 comes significantly late.
You seem to start this trill on the upper note. That's usually a good policy, but here that is the same note as the one we've just had, so I would avoid its repetition by beginning this trill on the main note instead.
If you are starting the trill in bar 5 on the upper note, avoiding repetition of the Eb, it seems odd that you don't likewise avoid repetition of the F in bar 6.
Does your edition have pauses (fermatas) in bar 8? Mine has nothing, not even a rit. I think the basic notes already have enough of a slow-down built in, so that no additional slow-up is necessary, and I would play this bar in straight tempo. Same thing applies to bar 26.
In bar 14 the trill is also causing a delay, a bit like bar 3.
By the end of bar 15 you must have lost tempo, because in bar 16 there seems to be a distinct gear change. Or maybe you are just playing the first figure in bar 16 (dotted semiquaver plus demi) too quickly. This pattern should occupy the same space of time as the last four demis of bar 15.
In bar 21 you are holding the second beat (Bb crotchet) only for half its proper value, so the next note (B natural) comes a quaver too early.
The beginning of bar 34 is much too fast. This dotted quaver plus semi should take twice as long as the dotted semi plus demi we had in bar 16. Think six of the demi pulses from the end of bar 33 for the Bb here, and two for the C.
I like the way you don't make gaps at the repeats or where you continue from the end of Men I to the beginning of Men II. I miss the da capo, though; normally, having played Men II, you would play Men I again (probably without repeats), but I guess you omitted the DC for the same reason as the exposition repeats in the other two movements.
I'm not convinced by the oompah-band feeling you create by giving the upbeat figures in bars 0 and 2 more emphasis than the downbeats which follow them.
My edition has the dotted patterns in bars 10 and 11 (and 28 and 29) slurred, just like they are in bars 0, 2, 4, 18, 20, 22, 30, 31. But you detach them, I'm not sure why. I do have them marked detached in bar 17, but I think the context is different here and justifies it.
I like the contrasting flow of the two menuets. Even though the tempi are equal, the first has a feel of 3 in a bar, while the second takes a broader view and lilts along with a feeling of being in 1.
In my edition, looking at bars 41 to 44, I have the first two RH crotchets in each bar contrasted bar-about, namely staccato in 41 and 43, but slurred in 42 and 44. You play them all slurred. I also have dynamic contrasts in my edition, with p marked on the semiquaver groups in bars 40, 42 (and 44), and f marked on those in 41 and 43. You seem to play this section at a more or less flat level. I did notice some dynamics you made which I don't even have in my edition, specifically the LH octaves in 37 38 are louder than the surrounding material.
Notice how bar 47 begins with a figure consisting of a pair of demisemiquavers grouped with a dotted quaver, which you play exactly as printed, i.e. with the first of the demis on the beat. What comes next, in bars 49-52, is similar even though here the two demis are combined into a semi, i.e. it's printed (in my ed) as a Scotch snap, dotted quaver after a semiquaver, and so the semiquavers should come on the beat, but you play them before the beat, as acciacaturas. Frankly, even if my edition had them printed as grace notes to crotchets, I'd still play them as appogiaturas.
This skips along at a reasonably healthy speed, but I don't understand why you begin so tentatively, and then accelerate during bar 1 to reach normal tempo by the time you get to bar 2. It's almost as though you wake up and suddenly see what time it is, and get the "shit, I'm going to be late for work" feeling, and burst into your morning routine with unaccustomed frenzy. Comical though the effect is, it seems like a bit of a gimmick. Mozart doesn't need gimmicks.
In bar 8 (and correspondingly in bar 69), I have the first two RH quavers slurred, even though the previous two quavers at the end of bar 7 (68) are staccato.
Notice how in bars 40, 41, 44, and 45, the RH has a dotted crotchet plus quaver pattern. You play these as printed, with long dotted crotchets. But in bars 48 to 55, where the LH has the corresponding pattern, you play the dotted crotchets staccato. I think they should be long too.
Sorry this has grown to be a bit long again, especially as most of my remarks are down to what are probably mere editorial points.