Reviews (7)

Chips is a wonderful movie about a boy who gose to the army
chips is wonderful and hart warming it is about a boy who gose to the army that nobody likes and is scard of dogs he is put in the dogs for defence group but is scard of the dogs he then comes to no chip but could not do the program because he is scard of dogs so they make him the kennle atendentt chips is going to be thron out of the program but danny hides him and gives him a secret name and works with him at night then he gets cot and you will have to wacth the movie to find out the rest.

The movie is so good, you'd like to see it over and over!!
This is a loving story about a young army volunteer who, when he joins, he get also thrown into the K-9 dog program. Worse, he's scared of dogs AND he's been assigned to take care of a German Shepherd! They work together, and finally the training pays off when they are off to the REAL WAR!! Discover the growing friendship and bond between these two and see that if, with the right training, your dog can be a star!

This is a great feel good movie for anyone of any age.
I absolutly love this movie, and it is too bad that it is currently not avalible. I love the idea of how dog and boy, misfits apart, but together they are heroes. I always cry watching this movie. I really hope that they re-release it so I can enjoy it again and so can my family and friends.

Wonderful, a great family movie
I love Chips the war dog. Although I havent seen it in more than 2 years I still remember most of it. That proves its good, so good its stcks with you for years. Chips the war dogs is helpful, educational and fun story. Its one of my favorite movies!

Touching
This is a great movie about a boy who is scared of dogs and a chicken chassing german sheperd, and they both got sent to war and got hooked. ... Read more

Reviews (1)

mommie richest
There isn't a moment of truth in this hokey Hallmark TVM directed by Ed Kaplan. The teleplay takes bits from Rebecca and Vertigo with Ellen Burstyn as a Long Island millionairess who commissions Meg Tilly to paint a mural in her tomb-like ballroom. With Burstyn's 16 year old daugher having died mysteriously on the night of her debutante ball and Tilly's mother estranged to her and also dead, it isn't long before Tilly is wearing the daughter's clothes and sleeping in her bed. The treatment's Barbara Cartland/Harlequin level of reality is underlined by the awful music score by Allyn Ferguson, the discovery of a portrait that reveals Tilly to be identical to the daughter ("we're kindred spirits"), Tilly's body double for the drawing and painting long shots, the English butler who stands to attention in the room at meal times, and the dead daughter's boyfriend out of D H Lawrence who describes the daughter (named Cassandra!) as "like the air after a thunderstorm". All this reads as if it could be played as a parody of something like Reversal of Fortune where the rarified existence of the rich allows for a world of artiface, though clearly that is not the intention. The teleplay by John Gay and Jim & Ken Wheat, based on the novel by Jane Stanton Hitchcock, has such pearls as Burstyn's "Bringing this room back to life is bringing me back to life too", Burstyn as described by the butler "She doesn't know the boundaries of her own strength", and Barnard Hughes as a friend of Tilly's advising her to stay on when she has doubts - "Don't throw the baby out with the bathwater". The last one makes a valid point by saying that the artist in history has had to endure the agenda of their patrons, but Tilly's objection to the loss of her own identity is ironic as Tilly is such a reticent performer. You can also guess that, based on Burstyn's controlling tendencies - she sees Tilly as her "creation" and hovers - Cassandra had her problems too. If Tilly's friendship with Hughes isn't believable, Burstyn is the bigger problem. Given that she entered Long Island society from marrying a wealthy man accounting for her obvious lack of rich lady manners, the two monologues she has about the death of Cassandra reveal her limited dramatic range. Since neither Burstyn or Tilly are the kind of actors who bring a wealth of personality to their roles - Burstyn is stuck in Actors Studio technique via TV acting - their casting comes across as second choice compromises, though perhaps no actor could redeem this kind of stale material to begin with. At one point Burstyn tells Tilly there are no photos of Cassandra, because Burstyn's husband has burned them all before shooting himself. Sunny von Bulow didn't even die and she made the newspapers. This household had 2 deaths presumably in quick succession, so you would think Tilly could easily find a picture of Cassandra in the archives of the local newspapers. Funny how that never occurs to her, but then that's a different TVM. ... Read more

Reviews (1)

mommie richest
There isn't a moment of truth in this hokey Hallmark TVM directed by Ed Kaplan. The teleplay takes bits from Rebecca and Vertigo with Ellen Burstyn as a Long Island millionairess who commissions Meg Tilly to paint a mural in her tomb-like ballroom. With Burstyn's 16 year old daugher having died mysteriously on the night of her debutante ball and Tilly's mother estranged to her and also dead, it isn't long before Tilly is wearing the daughter's clothes and sleeping in her bed. The treatment's Barbara Cartland/Harlequin level of reality is underlined by the awful music score by Allyn Ferguson, the discovery of a portrait that reveals Tilly to be identical to the daughter ("we're kindred spirits"), Tilly's body double for the drawing and painting long shots, the English butler who stands to attention in the room at meal times, and the dead daughter's boyfriend out of D H Lawrence who describes the daughter (named Cassandra!) as "like the air after a thunderstorm". All this reads as if it could be played as a parody of something like Reversal of Fortune where the rarified existence of the rich allows for a world of artiface, though clearly that is not the intention. The teleplay by John Gay and Jim & Ken Wheat, based on the novel by Jane Stanton Hitchcock, has such pearls as Burstyn's "Bringing this room back to life is bringing me back to life too", Burstyn as described by the butler "She doesn't know the boundaries of her own strength", and Barnard Hughes as a friend of Tilly's advising her to stay on when she has doubts - "Don't throw the baby out with the bathwater". The last one makes a valid point by saying that the artist in history has had to endure the agenda of their patrons, but Tilly's objection to the loss of her own identity is ironic as Tilly is such a reticent performer. You can also guess that, based on Burstyn's controlling tendencies - she sees Tilly as her "creation" and hovers - Cassandra had her problems too. If Tilly's friendship with Hughes isn't believable, Burstyn is the bigger problem. Given that she entered Long Island society from marrying a wealthy man accounting for her obvious lack of rich lady manners, the two monologues she has about the death of Cassandra reveal her limited dramatic range. Since neither Burstyn or Tilly are the kind of actors who bring a wealth of personality to their roles - Burstyn is stuck in Actors Studio technique via TV acting - their casting comes across as second choice compromises, though perhaps no actor could redeem this kind of stale material to begin with. At one point Burstyn tells Tilly there are no photos of Cassandra, because Burstyn's husband has burned them all before shooting himself. Sunny von Bulow didn't even die and she made the newspapers. This household had 2 deaths presumably in quick succession, so you would think Tilly could easily find a picture of Cassandra in the archives of the local newspapers. Funny how that never occurs to her, but then that's a different TVM. ... Read more