‘Still: A Michael J. Fox Movie’ Review: A Star’s Dignity

This is probably less a critique than a thank-you note to director Davis Guggenheim and to the subject of “Still: A Michael J. Fox Movie,” a marriage of exhilaration and sadness and, despite the title, the most moving thing on television. Mr. Fox was one of Hollywood’s biggest stars when he was diagnosed in 1991 with Parkinson’s disease, which finally forced his full retirement in 2021. His sense of humour remains a wonder. Something most viewers will only have to wonder, fortunately, is whether they would maintain the same dignity under the same set of circumstances.

The title, “Still,” describes something the actor never seemed to be, as evidenced by the voluminous collection of film clips Mr. Guggenheim uses to structure much of the film—Mr. Fox was always running, from “Teen Wolf,” to “The Secret of My Success,” to “Bright Lights, Big City,” to the blockbuster “Back to the Future” franchise and in and out of “Family Ties,” the sitcom that established his comedy credentials and wide appeal. Much of the background action, as well as Mr. Fox’s early biography, is covered through dramatic re-creations and otherwise unconnected film scenes knitted into a coherent narrative. The research must have been strenuous; the editing, too. The pace is nonstop, the humour abundant, the devotion of Mr. Fox’s wife, actress Tracy Pollan, is made plain, and there’s no small amount of nostalgia in store for people who know and love the Fox filmography. But the heart and soul of the film are the face-to-face interviews, which are far less delicate than one might expect. And all the deeper for it.

Seven interviews were conducted over the span of a year, and at one point Mr. Fox and his director (an Oscar winner for “An Inconvenient Truth”) are getting back together after some time, the subject recounting how he basically had, in the interim, fallen and broken his face. Mr. Guggenheim reacts with alarm; his subject is almost blasé. “Gravity is real,” he says, laughing. “Even if you’re only falling from my height.” During a walk along Fifth Avenue with an aide, Mr. Fox is recognised by a fan and when he turns to say hello back, he topples to the sidewalk. “You knocked me off my feet,” he tells the passerby. Everyone smiles, but it breaks your heart.

“I can see in your eyes that you’ve got a great one-liner,” Mr. Guggenheim says to the actor at a point in their exchanges, “and then it has a problem getting to your mouth.” Mr. Fox doesn’t disagree; he doesn’t have to, and often lets a nonresponse compensate when a response would be thwarted by his ailment. As Mr. Guggenheim says, the predictable storyline in a Michael J. Fox movie now would be about a huge star getting a debilitating disease and being crushed by it. “Yeah,” Mr. Fox says, “that’s boring.” Nothing in “Still” is the least bit boring.

Nor is it preachy, or weepy, or looking for pity for its subject, who isn’t looking for any either. He does recall feeling at some point, post-diagnosis, that he was somehow reaping cosmic payback for the enormous if less-than-overnight success he had enjoyed after several seemingly immovable objections fell and he was cast in “Family Ties.” (His tales of Hollywood poverty are close to harrowing although, as he might say, he got over it.) If there’s a flaw in “Still,” it might be Mr. Fox’s reluctance to discuss his physical agony or the psychic struggle that comes with Parkinson’s. (“The worst thing is to be confined,” he says, answering one of Mr. Guggenheim’s very direct questions. “To have no way out.”) You come close, Mr. Guggenheim says about Mr. Fox discussing his pain, “and then you dart away.” But that is a principal reason his subject, and film, are so involving and watchable and rich.

From late 2026 and into 2027, PONANT Explorations Group will base two ships in French Polynesia, offering travellers a choice between a culturally immersive classic and a far more exploratory deep-Pacific experience.

The move builds on more than 25 years of operating in the region with the iconic m/s Paul Gauguin, while introducing the expedition-focused Le Jacques Cartier to venture into lesser-known waters.

Together, the two vessels will cover all five Polynesian archipelagos — the Society, Tuamotu, Austral, Gambier and Marquesas Islands — as well as the remote Pitcairn Islands.

THE PAUL GAUGUIN: CULTURAL IMMERSION, POLYNESIAN STYLE

Long regarded as the benchmark for cruising in French Polynesia, m/s Paul Gauguin will remain based year-round in the region.

Renovated in 2025, the ship continues to focus on relaxed, culturally rich journeys with extended port stays designed to allow guests to experience daily life across the islands.

A defining feature of the onboard experience is the presence of the Gauguins and Gauguines — Polynesian hosts who share local traditions through music, dance and hands-on workshops, including weaving and craft demonstrations.

The atmosphere is deliberately intimate and internationally minded, catering to travellers seeking depth rather than distance.

Across the 2026–27 seasons, the ship will operate 66 departures, primarily across the Society Islands, Tuamotu and Marquesas, with select voyages extending to Fiji, Tonga and the Cook Islands.

LE JACQUES CARTIER: EXPLORATION AT THE EDGE

Le Jacques Cartier introduces a more adventurous dimension to PONANT’s Polynesian offering, with itineraries focused on the least visited corners of the South Pacific.

The ship will debut three new “Discovery” itineraries, each 14 nights in length, which can also be combined into a single, extended 42-night voyage — the most comprehensive Polynesian itinerary currently available.

In total, the combined journey spans six archipelagos, 23 islands and the Pitcairn Islands, a British Overseas Territory rarely included on cruise itineraries.

Unlike the Paul Gauguin’s cultural focus, Le Jacques Cartier centres on exploration.

Each day includes one guided activity led by local experts, with excursions conducted via tenders, local boats and zodiacs. Scuba diving is available on board, supported by a resident instructor.

Across the 2026–27 period, the ship will operate nine departures, offering a deliberately limited and low-impact presence in some of the Pacific’s most isolated communities.

THREE NEW DISCOVERY ITINERARIES

The new itineraries aboard Le Jacques Cartier include:

– Secret Polynesia: Unexplored Tuamotu, the Gambier Islands and the Austral Islands
– From Confidential French Polynesia to Pitcairn Island
– Polynesian Bliss: Marquesas and Tuamotu

Each voyage departs from Papeete, with prices starting from $15,840 per person.

SCOUTING THE PACIFIC’S MOST REMOTE COMMUNITIES

In preparation for the new itineraries, PONANT Explorations Group undertook extensive scouting across the Austral and Tuamotu Islands to develop activities in collaboration with local communities.

José Sarica, the group’s R&D Expedition Experience Director, worked directly with residents to design experiences including welcome ceremonies, cultural workshops and visits to marae, the region’s sacred open-air temples.

Six new ports of call have been confirmed as part of this process, spanning both the Tuamotu and Austral archipelagos.

SIX NEW PORTS OF CALL CONFIRMED

New stopovers include:

– Mataiva, known for its rare mosaic lagoon
– Hikueru, home to one of the largest lagoons in the Tuamotus
– Makemo, noted for its red-footed boobies and frigatebirds
– Raivavae, famed for its crystal-clear lagoon pools
– Tubuai, rich in marae and spiritual heritage
– Rurutu, known for limestone caves and seasonal humpback whale sightings

A DUAL EXPERIENCE, ONE DESTINATION

By pairing its long-established cultural voyages with expedition-led exploration, PONANT Explorations Group is positioning French Polynesia not as a single experience, but as two distinct journeys — one grounded in tradition and comfort, the other pushing into the furthest reaches of the Pacific.

For travellers seeking either immersion or discovery, the South Pacific is about to feel both familiar and entirely new.