I have to put in a vote for My Neighbor Totoro. I think Roger Ebert said it best when he said (paraphrased) it’s a world in which when a little girl finds a big weird monster in the woods she curls up and falls asleep on its tummy and is perfectly safe. It’s the sweetest movie about two little girls - sisters - in the country, and yes, everyone comes away with smiles and warmth in their hearts.
As a lifetime fan of comic books, I have to give props to Marvel’s The Avengers for doing the live-action superhero team up right.
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The Incredibles* also counts as perfect, as well.
It isn’t a “great” film, and it’s not in my personal top 10, but I’ve always felt that Robocop (the original 1987 version) is a nearly flawless film. The script is lean and tight, without a single wasted word. No scene drags on too long or feels too short. The casting is spot-on. The film has just enough gravitas without taking itself too seriously. I’d be hard pressed to think of a single thing in it that could be improved.
Gotta disagree with you there. Hated that cliché-fest.
I suggest The Great Escape. All-star cast, great “based on a true” story, good guys, Nazis, airplanes, trains and motorcycle chases! Only thing it’s missing is boobies.
Dedicated to The Fifty, Baby!
I honestly can’t think of a way to improve DIE HARD.
I can. 
But seriously, it’s my favorite movie, and pretty much perfect.
I’ve said for many years (to friends) that for me, Rushmore was a perfect movie, so perfect, in fact, that I watched it a second time immediately after my first viewing.
For me, Willy Wonka and the Chocolate Factory is the perfect movie. I’d put Jurassic Park up there pretty high too.
I would have said Raiders of the Lost Ark except I can’t help thinking that Amy Farrah Fowler was right about it, which takes away a bit of its perfectness (though I still love it).
I’d mostly agree about The Avengers except that it starts off a bit slowly. With a slightly faster start, I’d agree–perfect!
I’ll add in Spirited Away.
There is just so much to this movie. I’ve literally watched it at least a dozen times and every time you see more depth.
Given the OP’s particular standards of “perfection,” I might suggest Catch Me If You Can for its light-hearted charm while not sacrificing quality or storytelling.
And I think it’s great how Clarence Boddicker eventually retired from crime, met a woman, settled down, and changed his name to Red Foreman.
If you said you wanted to make the perfect chick flick, saying it’d be a chick flick so perfect that manly men would adore it, I’d say you were out of your damn mind.
And if you said no, it’d be a charming and wistful tale of friendship and feminism, and what it’s like to grow up in your sister’s shadow, and how it’s hard to find love if you’re not that attractive, and how if you are attractive you have to reluctantly play it up to succeed at work, I’d interrupt your rambling to (a) explain that I wasn’t worried about that part, and (b) reiterate that you’re out of your damn mind.
And I’d admit defeat if you said it’s also about whether there’s crying in baseball.
SILENCE OF THE LAMBS famously won Oscars for Best Picture and Actor and Actress and Director and Screenplay and deserved 'em all.
Not my favorite film but the Shawshank Redemption may be the perfect film.
And an excellent source of quotes.
In retrospect, they must’ve said hey, let’s make the perfect fish-out-of-water comedy by wrapping it around a courtroom drama; we can call it My Cousin Vinny!
Nothing in that movie is wasted; every role is cast to the point of being iconic; I’ve heard law schools use it as a teaching aid; and it’s hilarious even when it’s just the seventh-billed guy cross-examining the ninth-billed guy – because, granted, it kicks into high gear when it’s Pesci and Tomei, but they’re not carrying the film.
I’ll add *Fargo *to the list. Nothing out of place, even the Mike Yanagita scene is perfect and serves its purpose.
Mad Max: Fury Road, if you’re in the mood for the movie like Mad Max: Fury Road.
“Perfect Movie” means lots of different things to different people. I can even come up with lots of different definitions, some of which would make some of my “perfect movies” ones that weren’t among my favorites, or even ones I liked.
Overall, I’d say The Terminator was my candidate for a Perfect Movie. To begin with, it far exceeded m expectations. I thought from the first TV spots that it was going to be a cheaply-filmed shoot-em-up set in LA, more science fiction by courtesy than in reality. Part of my love of this film was finding out otherwise. It was an SF-literate film with a carefully thought-out premise and details. It avoided the obvious cliches.
It was very well-written and directed. The way the expositio unfolded, the interaction of asction scenes and quiet moments. The dialogue was well put-together.
It had special effects, carefully used and within a budget.
And there were lots of clever touches and dark humor. “Tech Noir” night club == “Machines need love, too” on the answering machine message – The scene in the Flashback (Flashforward?) in the bunker where people are apparently watching a television - and just as you think “they have television still?” you go to a reverse cut and see that they’re warming in front of a fire in a TV housing. — the finale in the robotically-run factory.
Arguably the cleverest bit was one I think a lot of people missed – when the landlord knocks on the door of the Terminator’s apartment, asking about the smell, you see the Terminator POV shot with his possible responses. He chooses the last one – “Fuck you, asshole!” If you recall the opening scenes (after the titles), when Arnold confronts the gang at the Observatory and asks them to give him their clothes, this is Bill Pullman’s response. The Terminator is a learning machine, adapting to its environment. It remembered the response and used the response itself at what it decided was the appropriate time. It’s a rare case of a Robot acting as a Robot in an SF film (and not just as a metal person), as good as anything Robby did in Forbidden Planet.
And I loved that there were false endings, with the tying up of loose ends you didn’t even realize were there. (How did Sarah Connor evolve from retiring waitress to battle-ready fighter? Who took the picture of Sarah that Reese carried? And what was she thinking about?
The sequel was a good flick, with a lot more money and prep, but its can’t come c lose to the effect of the first film, with its raw vigor and energy, and its Unstoppable Killing Machine that avoided the most mawkish of Hollywood cliches – appealing to the “good” side or the “human” side of the villain. The Terminator was a pure creation – it had no “good side”. And it wasn’t human.